BIOGRAPHICAL,  AND  DESCRIPTIVE 


OF 


THE  OBJECTS  EXHIBITED  AT  THE 


A,  K.  ELY 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/historicalbiograOOparr 


YJB 


MAIN  ENTRANCE  TO  THE  GARDEN  AND  MUSEUM. 


HISTORICAL, 

BIOGRAPHICAL,  AND  DESCRIPTIVE 

CATALOGUE 

OP 

THE  OBJECTS  EXHIBITED  AT  THE 
SOUTHAMPTON  ART  MUSEUM, 

ESTABLISHED  AT 

Southampton,  Urto  got*, 

BY 

Samuel  L.  Parrish, 

In  the  Year  1897. 


NEW  YORK  : 
BENJAMIN  H.  TYRREL. 
1898. 


Copyright,  1898, 

By  Samuel  L.  Parrish. 


To 

HENRY  G .  MARQUAND,  ESQ., 

PRESIDENT  OF  THE 

METROPOLITAN  MUSEUM  OF  ART 

OF  NEW  YORK, 


To  whose  Liberality  and  Devotion  that  most  Complete 
Museum  in  America  is  so  Greatly  Indebted 
for  its  Success,  this  Catalogue 


is,  with  Permission, 

INSCRIBED. 


TABLE  OF  CONTENTS. 


Preface,  . vti-xviii 

Bayeux  Tapestry, . 3-42 

PERSONAGES  REPRESENTED  IN  THE  TAPESTRY: 

Edward  the  Confessor,  King  of  England. 

Harold,  Earl,  and  later,  for  about  ten  months,  King  of 
England. 

William  the  Conqueror,  Duke  of  Normandy,  and  later 
King  of  England. 

Odo,  Bishop  of  Bayeux,  Half  Brother  of  William  the 
Conqueror. 

Guy,  Count  of  Ponthieu. 

Conan,  Count  of  Brittany. 

Robert,  Count  of  Mortain. 

Turold,  a  Dwarf. 

Aelfgyva. 

Ealdgyth,  wife  of  Harold. 

Stigand,  Archbishop  of  Canterbury. 

Wadard. 

Vital,  a  Norman  Scout. 


IV 


TABLE  OF  CONTENTS. 


Leofwine,  Brother  of  King  Harold. 

Gyrth,  Brother  of  King  Harold. 

Eustace,  Count  of  Boulogne. 

Norman  and  Saxon  Knights,  Soldiers,  Sailors,  Peasants, 
etc. 


The  Royal  Effigies, . 

45 

Henry  III, . 

47 

Eleanor  of  Castile, . 

48 

Edward  III, . 

51 

Edward  “The  Black  Prince,”  . 

55 

Richard  II, . 

57 

Henry  IV, . 

Margaret  Beaufort,  “The  Lady  Margaret,” 

64 

Countess  of  Richmond,  .... 

66 

Henry  VII, . 

70 

Elizabeth  of  York, . 

75 

Henry  VIII, . 

77 

Cardinal  Wolsey, . 

81 

Mary  Stuart,  Queen  of  Scots,  .... 

85 

Queen  Elizabeth  of  England,  .... 

89 

Catalogue  of  Pictures, . 

95-108 

Greek  Sculpture, . 

111-116 

Athens  and  the  Parthenon, ) 

The  Parthenon  Frieze,.  ) 

117-123 

The  Faun,  by  Praxitiles,  .... 

124^-128 

Laocoon  Group, . 

129-133 

Zeus  (Jupiter)  (Head), . 

134 

Apollo  Belvedere  (Head)  * . 

135 

Wrestlers,  The, . 

136 

TABLE  OF  CONTENTS. 


V 


Boy  Extracting  a  Thorn,  .... 

137 

Psyche  of  Capua, . 

137 

Hermes  (Mercury), . 

138 

Winged  Victory  of  Samothrace,  . 

.  139-142 

Narcissus  or  “The  Echo,”  .... 

142 

Ancient  Historical  Busts, 

143 

Homer, . 

145 

Pericles, . 

146 

Augustus  Caesar, . 

148 

Tiberius  Caesar, . 

151 

Antinous, . 

.  156-157 

Renaissance  Sculpture,  .  .  . 

.  159-162 

Donatello, . 

163 

Robbia,  Luca  della, . 

163 

Robbia,  Andrea  della, . 

164 

Rossellino,  Antonio,  .... 

164 

Mino  da  Fiesole, . 

165 

Benedetto  da  Maiano,  .... 

Ar  t  ,  rri  ,  )  Plaster  Copies  ) 

Madonna  and  Child,  (  1  I 

165 

Madonna  and  Child,  f  .  .  ( 

'  Michael  Angelo.  J 

.  166 

La  Femme  Inconnue  (Unknown),  . 

166 

Renaissance  Historical  Busts, 

Dante  Alighieri, . 

.  167-170 

Michael  Angelo  Buonarroti, 

170 

Milton, . 

.  172-173 

Milton, 


SOUTH  SIDE  OP  THE  MUSEUM  BUILDING. 


HISTORICAL,  BIOGRAPHICAL,  AND 
DESCRIPTIVE  CATALOGUE. 


PREFACE. 

The  object  in  establishing  this  small  Museum  has 
been  to  give  to  the  people  of  Southampton,  and  the 
surrounding  country,  and  especially  to  the  younger 
generation,  an  opportunity  to  enjoy  the  influences  gen¬ 
erally  recognized  as  incident  to  such  an  institution.  It 
is  the  desire  and  intention,  so  far  as  circumstances  will 
permit,  to  make  it  auxiliary,  on  its  educational  side,  to 
the  Public  School  and  Library.  In  most  European 
countries,  the  desirability  of  this  form  of  education  is 
so  strongly  felt  that  the  government  itself,  or  the  mu¬ 
nicipality,  generally  takes  the  initiative,  at  least  in  the 
larger  centres  of  population.  Owing  to  the  concentra¬ 
tion  of  population  in  the  older  countries,  and  the 


VIII 


PREFACE. 


greater  interest  there  manifested  in  institutions  of  this 
kind,  the  distance  of  the  bulk  of  the  people  from  some 
point  of  educational  and  artistic  interest  is  usually  com¬ 
paratively  small.  The  result  is  that,  in  the  course  of 
the  year,  large  numbers  will  have  often  availed  them¬ 
selves  of  the  opportunity  offered  to  visit  the  museum  or 
gallery  of  the  neighboring  town.  This  fact  will  be 
readily  appreciated  by  any  one  who  has  had  occasion 
to  watch  the  crowds  that  throng  the  English  and  Con¬ 
tinental  galleries  on  some  holiday  that  brings  together 
the  people  from  the  outlying  districts.  In  this  connec¬ 
tion  it  will  be  noted  that  there  is  already  a  tendency 
in  our  own  country  to  follow  the  example  of  the  older 
civilization  of  Europe.  This  tendency  has  recently 
taken  form  by  introducing,  into  the  public  schools  of 
New  York,  photographs  and  pictures  that  will  excite 
an  interest  in  the  study  of  the  great  works  of  architec¬ 
ture  and  art  that  abound  in  foreign  lands.  Naturally, 
under  the  conditions  surrounding  this  undertaking, 
there  can  be  nothing  in  the  nature  of  an  attempt  to  repro¬ 
duce  the  result  accomplished  by  even  the  most  modest  of 
the  American  and  European  institutions,  inaugurated 
and  sustained  as  they  are  by  such  powerful  influences 
continually  at  work  for  their  enlargement  and  improve¬ 
ment.  Especially  is  this  limitation  experienced  in  the 
domain  of  painting  and  original  works  of  statuary.  In 
regard  to  plaster  copies,  however,  of  which  many 
of  the  museums  so  largely  avail  themselves,  the 
situation  is  entirely  different.  Here  we  are  on  com- 


PREFACE. 


IX 


parativelv  common  ground,  for  the  art  of  reproduction 
has  been  brought  to  such  a  point  of  perfection,  that 
excellent  plaster  copies  can  be  had  of  nearly  all  the 
great  works  of  antiquity  that  have  come  down  to  us, 
as  well  as  copies  of  the  creations  of  later  date,  rivalling 
in  many  cases  even  those  of  the  classic  period  itself. 
Thus,  copies  of  the  works  of  Phidias  and  Praxitiles  and 
Michael  Angelo  and  Donatello,  and  others  of  the  great 
sculptors  whose  works  have  been,  and  will  always  con¬ 
tinue  to  be,  the  admiration  of  successive  generations, 
are  readily  obtainable.  It  will,  of  course,  be  under¬ 
stood  that  to  the  mind,  and  practised  eye  and  hand,  of 
the  sculptor,  no  reproduction  can  ever  take  the  place 
of  the  original  work.  On  the  other  hand  it  is  believed 
that  to  those  who  find  pleasure  in  the  contemplation  of 
the  beautiful  in  form,  a  skilful  reproduction  will  very 
strongly  appeal,  and  have  a  valuable  educational  in¬ 
fluence.  This  fact  has  been  greatly  appreciated  in  our 
own  country  by  the  men  who  are  at  the  head  of  the 
museums  in  our  principal  cities.  The  result  is  that  in 
New  York,  Boston,  Chicago,  Philadelphia  and  Wash¬ 
ington,  and  numerous  other  smaller  places,  the  real 
treasures,  speaking  broadly  from  the  point  of  view  of 
artistic  education,  housed  by  the  elaborate  and 
costly  structures  that  have  arisen  as  the  result 
of  a  desire  to  cultivate  the  fine  arts,  are  not  so 
much  the  modern  pictures,  interesting  and  valuable  as 
many  of  them  are,  as  the  plaster  reproductions  of  the 
antique  and  Renaissance  sculpture,  those  masterpieces 


X 


PREFACE. 


of  the  genius  of  man  at  its  highest  period  of  develop¬ 
ment  in  the  world  of  art. 

This,  then,  is  the  motive  of  an  attempt  to  create  this 
small  museum,  an  attempt  which  could  only  end  in 
failure  were  it  not  for  the  possibilities  afforded  by  the 
art  of  reproduction.  Nor  is  this  art  exhausted  when 
only  forms  of  ideal  beauty  have  been  offered  for  exhi¬ 
bition.  Still  another,  and  in  some  aspects  more  im¬ 
portant  element  of  value,  is  the  opportunity  afforded  to 
awaken  and  stimulate  an  interest  in  the  study  of  history. 
In  a  community  like  ours,  based  upon  the  general 
intelligence  of  the  people,  and  fostered  by  the  common- 
school  system,  the  experience  of  other  countries,  so 
necessary  to  a  right  understanding  of  our  own,  can  only 
be  learned  by  the  study  of  history.  On  this  point  the 
following  words  of  Carlyle  will  be  recognized  as  spoken 
with  authority: 

“In  all  my  poor  historical  investigations  it  has  been, 
and  always  will  be,  one  of  the  most  primary  wants  to 
procure  a  bodily  likeness  of  the  personage  inquired 
after,  a  good  portrait,  if  such  exists;  failing  that,  even 
an  indifferent,  if  sincere  one. 

“In  short,  any  representation  made  by  a  faithful 
human  creature  of  that  face  and  figure  which  he  saw 
with  his  eyes,  and  which  I  can  never  see  with  mine,  is 
now  valuable  to  me  and  much  better  than  none  at  all. 
It  has  always  struck  me  that  historical  portrait  galleries 
far  transcend  in  worth  all  other  kinds  of  national 
collections  of  pictures  whatever;  that,  in  fact,  they 


LOOKIN’*;  NORTH  TOWARD  THE  ORGAN,  WITH  TIIE  ROMAN  IMPERIAL  RESTS  ON 

SIDE  OE  THE  HALL. 


PREFACE. 


XI 


ought  to  exist  in  every  country  as  among  the  most 
popular  and  cherished  national  possessions.  Lord  Chan¬ 
cellor  Clarendon  made  a  brave  attempt  in  that  kind  for 
England,  but  his  house  and  gallery  fell  asunder  in  a 
sad  way.” 

What  is  true  of  portraits  is  also  true  of  portrait 
busts.  In  the  case  of  the  latter  there  is  also  the  added 
practical  consideration  that,  owing  to  the  greater  dura¬ 
bility  of  the  material,  we  have  now,  and  successive  gen¬ 
erations  will  continue  to  have,  an  opportunity  to  study 
the  features  of  many  of  the  great  men  of  antiquity,  as 
well  as  those  of  more  recent  times,  which  would  have 
been  forever  lost,  had  we  been  compelled  to  rely  upon 
the  art  of  portrait  painting  alone.  In  a  small  museum 
like  this  there  can  naturally  be  exhibited  but  a  very 
limited  number  of  the  hundreds  of  more  or  less 
authentic  and  interesting  portrait  busts  that  have  come 
down  to  us  through  the  ages,  beginning  as  they  do  in 
the  very  twilight  of  history. 

In  the  selection  of  the  marble  and  plaster  reproduc¬ 
tions  here  exhibited,  no  especial  order  or  plan  has  been 
observed,  the  intention  being  to  have  the  hall  contain  gen¬ 
erally  such  objects  as  have  a  world-wide  reputation, 
either  from  their  artistic  merit  or  historical  associa¬ 
tion.  Accompanying  each  object  exhibited  is  a  bio¬ 
graphical  or  historical  statement,  longer  or  shorter  as  the 
case  may  be,  giving  in  outline  the  history  of  the  indi¬ 
vidual,  if  a  bust,  or  of  the  work  of  art,  if  an  ideal 
creation,  with  the  name  of  the  sculptor,  when  known, 


XII 


PREFACE. 


and  in  the  case  of  copies  of  the  antique,  a  statement  of 
when  and  where  the  originals  were  found,  and  their 
present  location.  From  time  to  time  explanatory  and 
historical  foot  notes  have  been  added,  which,  it  was 
thought,  might  prove  of  interest,  and  in  some  cases,  for 
the  same  reason,  the  text  itself  has  been  enlarged  be¬ 
yond  the  scope  of  a  descriptive,  or  even  strictly  histori¬ 
cal,  catalogue  as  related  to  what  is  contained  in  the 
hall  itself. 

Of  the  historical  reproductions,  it  is  believed  that  the 
collection  of  the  half  length  effigies  of  some  of  the 
Plantagenet  and  Tudor  kings  and  queens  will  be  found 
particularly  interesting,  especially  to  the  students  of 
English  history.  The  original  effigies,  in  full  length, 
either  in  bronze,  brass,  or  alabaster,  being  works  of  the 
period,  lie  recumbent  upon  the  tombs  of  the  persons 
represented,  mostly  in  Westminster  Abbey  or  in  Canter¬ 
bury  Cathedral.  The  half  length  effigies  here  exhibited 
are  taken  from  electrotype  reproductions  now  to  be 
seen  in  the  National  Portrait  Gallery,  an  institution 
established  in  London  about  two  years  ago,  under  the 
auspices  of  the  British  Government.  This  institution 
has  carried  out  on  a  grand  scale  the  opinion  and 
sentiment  of  Carlyle,  as  embodied  in  the  quotation 
given  above. 

The  collection  of  pictures,  shown  here  at  Southampton, 
has  been  made,  for  the  most  part,  during  several  visits 
to  Italy  in  the  past  few  years.  The  pictures  were 
obtained  principally  in  Venice  and  Florence,  and  their 


PREFACE. 


xm 


respective  neighborhoods,  though  some  of  them  were 
acquired  in  other  continental  cities,  and  a  few  in 
London  and  New  York.  In  most  cases  the  name  of  the 
artist  is  unknown,  though  the  pictures  themselves 
belong  to  recognized  schools  or  periods  of  Italian  art, 
ranging  from  about  the  beginning  of  the  15tli  to  the 
latter  part  of  the  17th  centuries,  and  are  generally 
painted  on  panel.  During  that  period  Italy  was 
a  vast  artistic  workshop,  and  following  the  sentiment 
of  the  period,  the  subjects  chosen  for  representation 
were  usually  of  a  religious  character,  or  portraits,  in¬ 
terspersed  with  large  decorative  pictures  representing 
festive  occasions,  generally  with  a  bible  story  as  the  sub¬ 
ject,  or  allegorical  scenes  taken  from  the  classic  poets. 
Landscape,  except  as  an  accessory,  and  scenes  from 
common  life,  were  seldom  taken,  in  Italy  at  least,  for 
the  purpose  of  artistic  illustration,  during  the  period 
of  Italian  supremacy  in  art. 

Some  of  the  pictures  here  shown  are  therefore,  doubt¬ 
less,  from  the  hands  of  pupils  of  some  of  the  great  Ital¬ 
ian  masters — pupils  whose  name  and  fame  were  perhaps 
only  local  during  their  own  time,  but  whose  works 
nevertheless  contain  something  of  the  spirit  of  the 
period  represented  by  the  Italian  Renaissance.  In  cases 
where  direct  attributions  have  been  made  to  some  of 
the  minor  painters,  the  pictures  are  submitted  to  the 
judgment  of  those  who  have  made  a  study  of  this  epoch 
of  artistic  development. 

In  regard  to  the  reproductions  in  plaster  and  marble, 


XIV 


PREFACE. 


we  are  on  more  certain  ground,  for  these  have  been 
taken  from  the  authenticated  original  works  which  are 
scattered,  for  the  most  part,  through  the  churches  and 
museums  of  Europe.  The  actual  reproductions  here 
shown  were  acquired  in  Florence,  Paris,  London  and 
New  York.  The  “Laocoon,”  “The  Faun  of  Prax- 
itiles,”  “The  Wrestlers,”  “The  Winged  Victory  of 
Samatlirace,”  and  some  others,  were  obtained  from  the 
“Atelier  de  Moulage,”  as  it  is  called,  or  plaster  cast 
establishment,  attached  to  the  Museum  of  the  Louvre 
in  Paris,  and  conducted  by  the  government.  The  plas¬ 
ter  reproduction  of  the  Parthenon  Frieze  was  obtained 
from  the  Metropolitan  Museum  of  Art  of  New  York. 

The  autotype  copy  of  the  Bayeux  Tapestry  was  ac¬ 
quired  in  London,  and  taken  from  plates  in  the  posses¬ 
sion  of  the  British  Government,  Science  and  Art  De¬ 
partment. 

It  will  be  noted  that  the  collection  is  confined 
almost  exclusively  to  such  objects  as  illustrate  or  repre¬ 
sent  the  history,  biography,  and  art  of  Greece,  Italy  and 
England;  the  three  countries,  above  all  others,  to  which 
we  in  America,  directly  or  indirectly,  owe  all  that  is 
most  valuable  in  our  intellectual  and  political  life. 

In  the  reading-room,  to  the  west  of  the  main  hall, 
will  be  found,  among  the  books  relating  to  travel  and 
the  history  of  art,  certain  volumes  which  will  enable 
the  visitor  so  desiring  to  acquire  more  accurate  and 
extended  information  in  regard  to  the  biography  of  the 
individuals  represented  by  the  statuary  and  casts,  and 


THE  LILY  FOND  AND  ARBORETUM. 


PREFACE. 


XV 


of  the  history  of  the  other  objects  contained  in  this  col¬ 
lection. 

Surrounding  the  building  itself  is  about  an  acre  of 
ground,  containing  the  nucleus  of  a  small  botanical 
garden.  In  the  reading-room  will  be  found  a  certain 
number  of  books  on  botany. 

Samuel  L.  Parrish. 

New  York. 

March,  1898. 


Since  the  preceding  Preface  was  written,  a  swift  and 
uncontrollable  current  of  events  has  swept  the  world 
away  from  its  old  moorings,  and  brought  our  country 
face  to  face  with  difficulties,  dangers,  and  problems  little 
dreamed  of  but  a  few  short  months  ago.  Whatever  may 
be  the  outcome  of  the  present  Spanish-American  war, 
however,  there  is  at  least  one  fact  that,  in  its  far-reaching 
import,  stands  forth  clearly  above  all  others;  and  that 
is  the  inherent  similarity  of  aim  and  purpose  existing 
between  England  and  America  in  their  relations  toward 
the  rest  of  the  world. 

With  their  old  and  narrow  bickerings  and  jealousies 
now  happily  relegated  to  the  background,  let  us  hope 
forever,  so  far  as  any  serious  or  threatening  develop¬ 
ments  may  he  concerned,  there  should  be  an  ever-widen- 


XYI 


PBEFACE. 


in g  interest  in  tlie  sympathetic  study,  by  each,  of  the 
history  and  political  evolution  of  the  other.  Looked  at 
from  this  point  of  view  the  burden  of  inquiry  naturally 
falls  more  particularly  upon  us,  for  from  the  time  of  the 
Norman  Conquest  to  the  beginnings  of  the  settlement 
of  our  own  country,  a  period  of  nearly  six  hundred 
years,  the  history  of  England  is  equally  the  history 
of  all  of  us  who  are  of  English  descent,  and  collaterally 
the  history  also  of  all  our  fellow  countrymen,  who 
enjoy  the  privileges  of  a  government  founded  in 
essentials  upon  the  successful  struggles  for  personal, 
political  and  civil  liberty,  waged  through  the  centuries 
on  English  soil.  The  national  character  developed  by 
those  struggles  is  part  and  parcel  of  our  inheritance, 
and  the  capacity  to  assimilate  foreign  elements  shown 
by  us,  becomes  but  an  additional  tribute  to  the  solidity, 
strength,  and  world-wide  influence  of  the  principles 
derived  from  our  English  ancestry,  principles  accepted 
in  good  faith  by  none  more  than  by  those  of  other 
racial  antecedents,  who,  by  incorporation  into  our  body 
politic,  have  become  too,  the  political  descendants  of  the 
race  from  which  we  spring. 

In  considering  this  subject  further,  it  is  well  to  re¬ 
member  that  the  Americans  of  1776  were  also  but  the 
political  (and  in  many  cases  lineal),  descendants  of  the 
Englishmen  who  stood  for  liberty  in  1640  and  1688,  and 
that  nowhere  is  this  fact  more  cheerfully  acknowl¬ 
edged  than  in  England  itself.  In  the  National  Portrait 
Gallery  in  London,  England’s  Walhalla,  the  portrait 


PREFACE. 


XVII 


of  George  Washington  hangs  on  the  line  with  the 
great  Englishmen  of  his  time.  Of  the  insignifi¬ 
cant  minority  of  Englishmen  to-day  who  honestly 
dislike,  or  even  hate,  America  and  its  institu¬ 
tions  it  would  doubtless  be  found  that  in  nine 
cases  out  of  ten,  they  are  drawn  from  the  ranks  of  the 
political  or  actual  descendants  of  the  men  who  in 
former  centuries  were  willing  to  sacrifice  the  liberty 
and  well-being  of  their  country  to  the  prerogative  and 
claim  of  divine  right  of  the  King ;  men  whose  theories  of 
government,  had  they  prevailed,  would  have  landed  Eng¬ 
land  where  Spain  now  finds  herself,  namely,  in  the 
rear  rather  than  in  the  vanguard  of  modern  progress 
and  civilization. 

And  yet  another  consideration.  There  are  doubt¬ 
less  in  America  to-day  hundreds  of  thousands  of 
men  in  whose  veins,  unknown  to  themselves,  flows  at 
least  some  particle  of  the  blood  of  the  sturdy 
English,  Irish,  and  Welsh  soldiers  whose  disci¬ 
pline,  courage,  and  constancy  in  the  hour  of  danger- 
turned  impending  defeat  into  victory,  against  vast 
numerical  odds,  on  the  fields  of  Crecy,  Poitiers  and 
Agincourt.  Add  to  these  the  American  descendants 
of  the  Englishmen  who  fought  on  a  dozen  fields  in 
England  itself  to  uphold  their  liberties  against  the  en¬ 
croachments  of  arbitrary  power,  and  the  numbers  may 
well  be  swelled  into  the  millions.  Thus  can  we 
realize  that  in  our  common  inheritance  of  noble  tradi- 


XVIII 


PREFACE. 


tions  the  talk  of  “blood  being  thicker  than  water,”  is 
no  idle  figure  of  rhetoric. 

These  then  being  historical  facts,  it  is  beyond  the 
scope  of  this  short  note  to  consider  what  modifications, 
for  better  or  for  worse,  our  strong  national  indi¬ 
viduality  may  have  grafted  upon  the  parent  system.  . 

In  any  event  it  is  confidently  submitted  that  the 
developments  of  the  past  few  months  cannot  but  add 
interest  to  the  study  of  such  objects  in  this  collection 
as  tend  to  illustrate  the  history  of  England. 

S.  L.  P. 

Southampton,  N.  Y.,  June,  1898. 


PREFACE  TO  THE  ILLUSTRATED 
EDITION. 


Since  the  Museum  was  established  and  this  Cata¬ 
logue  written,  in  1898,  both  the  grounds  and  building 
have  been  enlarged,  the  latter  in  1902,  through  the 
generous  interest  of  my  brother  Mr.  James  C.  Parrish. 
Into  the  new  fire  proof  hall  presented  by  him  have  been 
moved  most  of  the  original  pictures  described  in  the 
Catalogue.  The  museum  building  is  now  in  the  shape  of 
a  cross,  and  stands  about  one  hundred  and  fifty  feet  back 
from  the  street.  It  is  built  partly  of  brick  and  partly  of 
wood,  with  a  maximum  length  and  width  of  one  hundred 
and  thirty-five  and  one  hundred  and  two  feet  respectively. 
It  is  situated  in  a  park  of  about  three  acres  in  extent 
at  a  central  point  in  the  village,  its  adjoining  neigh¬ 
bors  being  the  Public  Library  and  the  Municipal 
Building. 

During  a  visit  to  Italy  and  France  in  the  spring 
of  1900  I  became  much  impressed  with  the  antique 
busts  of  the  Roman  Emperors,  to  be  found  for  the 


XX 


PREFACE  TO  THE  ILLUSTRATED  EDITION. 


most  part  in  the  galleries  of  the  Vatican  and  the 
Capitol  at  Rome,  in  the  Uffizi  at  Florence,  and  in 
the  so-called  “Hall  of  Augustus”  in  the  Museum  of 
the  Louvre  at  Paris.  With  the  invaluable  aid  of  the 
late  Mr.  Augustus  St.  Gaudens,  whose  acquaintance 
I  had  the  good  fortune  to  renew  in  Paris  in  the  sum¬ 
mer  of  1900  at  the  time  of  the  Paris  Exposition,  I 
made  a  selection,  by  means  of  photographs,  from  the 
many  differing  busts,  of  the  first  eighteen  of  the 
Caesars,  beginning  with  Julius  and  ending  with  Corn- 
modus,  and,  in  Florence,  had  them  reproduced,  in 
marble,  of  uniform  semi-lieroic  size,  with  classic 
shoulders  added  where  the  head  alone  had  survived 
the  destructive  hand  of  time.  These  busts  of  deco¬ 
rative,  but  more  especially  of  historical  and  archaeo¬ 
logical  value,  now  adorn  the  new  hall  at  South¬ 
hampton.  In  addition  to  the  Roman  imperial  busts 
other  objects  of  artistic  interest  have  been  added  to 
the  collection  from  time  to  time  during  the  past  ten 
or  twelve  years,  consisting  for  the  most  part  of  repro¬ 
ductions  in  marble  and  terra  cotta  of  Greek,  Roman, 
and  Renaissance  sculpture,  but  as  a  description  of 
these  would  have  required  a  rearrangement  of  the 
Catalogue  it  was  thought  best  to  confine  the  illustra¬ 
tions  to  those  objects  which  formed  a  part  of  the  col¬ 
lection  at  the  time  it  was  written.  At  a  later  date,  how¬ 
ever,  it  is  my  intention  to  issue  an  addendum  to  the 
present  edition  in  the  form  of  a  separate  volume  which 
shall  contain  half  tone  reproductions  of  the  eighteen 


PREFACE  TO  THE  ILLUSTRATED  EDITION.  XXI 

imperial  busts,  now  to  be  seen  at  Southampton,  together 
with  short  monographs  upon  the  lives  and  characters 
of  the  emperors  represented,  after  the  manner  of  those 
in  this  volume  relating  to  Augustus  and  Tiberius  Ceasar. 

Samuel  L.  Parrish. 


Southampton,  Long  Island, 
August,  1912. 


LOOKING  TOWARD  THE  SOUTH  ALCOVE. 


BAYEUX  TAPESTRY. 


NOTE. 


The  Bayeux  Tapestry,  of  the  exact  size  of  the 
original,  has  been  reproduced  by  the  autotype 
process,  and  being  colored  by  hand,  the  repro¬ 
duction  here  shown  at  Southampton  presents  a 
striking  resemblance  to  the  original  work.  The 
plates  are  in  the  possession  of  the  British  Govern¬ 
ment,  but  with  that  liberality  which  characterizes 
the  English  in  all  matters  pertaining  to  the  acquisition 
and  diffusion  of  knowledge,  are  loaned  from  time  to 
time  for  the  purpose  of  making  copies. 

One  of  these  reproductions  is  to  be  seen  in  Lon¬ 
don  in  the  South  Kensington  Museum,  and,  besides 
the  one  exhibited  here,  there  is  another  in  the 


4 


BAYEUX  TAPESTRY. 


Pennsylvania  Museum,  in  Fairmount  Park,  Phila¬ 
delphia. 

For  those  desiring  to  make  a  more  accurate 
study  in  detail  of  the  various  scenes,  a  running 
commentary,  compiled  from  various  sources  has 
been  prepared,  and  follows  the  general  summary 
here  given.  Especial  recognition  in  this  work  is 
hereby  accorded  to  the  very  valuable  catalogue  which 
has  been  prepared  under  the  supervision  of  the  au¬ 
thorities  of  the  Pennsylvania  Museum,  compiled  from 
Mr.  Fowke’s  work  on  the  Tapestry,  and  that  of 
l’abbe  J.  Laffetay. 


EAST  SIDE  OF  THE  MUSEUM. 


BAYEUX  TAPESTRY. 


The  so-called  Bayeux  Tapestry  is  in  fact  a  piece  of 
embroidery  on  a  linen  band  20  inches  wide,  and  230  feet 
long.  It  is  a  pictorial  history. 

The  original  embroidery,  framed  and  covered  with 
glass,  is  now  in  a  small  museum,  to  which  it  was  re¬ 
moved  from  the  Cathedral,  in  the  little  Norman  town 

* 

of  Bayeux.  It  is  an  authentic  work  of  the  latter  part 
of  the  eleventh  century  or  the  beginning  of  the  twelfth, 
though  its  actual  authorship  is  a  matter  of  conjecture 
only.  Some  authorities  attribute  it  directly  to  Matilda, 
the  wife  of  William  the  Conqueror,  assisted  by  the 
ladies  of  her  court.  Others  assign  it  to  English  work¬ 
men,  acting  under  the  direction  of  the  Empress  Matilda, 
granddaughter  of  the  Conqueror.  The  best  authorities, 
however,  attribute  it,  largely  on  the  basis  of  certain 
internal  evidence,  to  Norman  workmanship  under  the 


6 


BAYEUX  TAPESTRY. 


direction  of  Odo,  Bishop  of  Bayeux,  half-brotlier  of 
William,  and  believe  it  was  made  for  the  decoration  of 
the  Cathedral  of  Bayeux,  which  was  rebuilt  by  Odo  in 
1077.  The  last  theory  is  the  one  maintained  by  Free¬ 
man  in  his  “History  of  the  Norman  Conquest.”  In 
any  event,  however,  the  tapestry  is  generally  believed 
to  be  a  practically  contemporary  work  with  the  events 
it  so  rudely  and  yet  so  graphically  describes.  It  re¬ 
mained  in  the  Cathedral  of  Bayeux  for  about  four 
hundred  years  before  exciting  sufficient  attention  to  be 
mentioned,  at  least  so  far  as  any  existing  record  is  con¬ 
cerned,  as  the  earliest  reference  to  it  now  known  is  to 
be  found  in  an  inventory  of  the  effects  of  the  cathedral 
taken  in  1476.  In  the  next  two  hundred  and  fifty 
years  nothing  is  heard  of  it  outside  of  the  cathedral, 
where  it  was  used  for  decorative  purposes  on  certain 
feast  days.  It  was  then  hung  round  the  nave,  and 
being  exactly  sufficient  to  go  around  the  walls,  the 
basis  on  which  its  length  was  originally  determined  is 
thus  indicated.  In  1724  it  came  under  the  notice  of 
the  French  Academy  of  Inscriptions,  when  its  extra¬ 
ordinary  historical  value  was  at  once  recognized,  and 
from  that  time  to  the  present  day  has  excited  the  great¬ 
est  interest  as  being  for  practical  purposes  the  most 
valuable  document  that  has  come  down  to  us  of  a  period 
so  unfortunately  lacking  in  authentic  historical  records. 
It  is  divided  into  seventy-two  scenes,  each  scene  being 
separated  from  its  neighbor  by  trees  or  a  building,  em¬ 
broidered  simply  for  the  purpose  of  marking  the  divid- 


MUSEUM  GARDEN  ROOKING  EAS  I 


BAYEUX  TAPESTRY. 


7 


mg  line.  The  original  is  done  with  a  needle  in  eight 
different  colors  of  worsted,  and  gives  a  history  of  the 
Norman  Conquest  of  England  from  a  Norman  point  of 
view,  taking  care  to  emphasize  the  points  making  for 
the  justice  of  William’s  claim  to  the  English  throne. 
By  the  crude  employment  of  the  different  colors  an 
attempt  is  made  to  create  some  sort  of  perspective, 
otherwise  lacking.  It  will  be  noted,  for  instance,  that 
a  green  horse  will  have  his  off  legs  painted  red,  while 
those  of  a  yellow  horse  will  be  blue.  In  addition  to  its 
interest  as  a  pictorial  narrative  of  events,  it  has  an 
especial  value  as  furnishing  us,  in  however  rude  a  form, 
with  a  fairly  accurate  idea  of  some  of  the  costumes,  as 
well  as  the  architecture  and  arms,  of  the  time  of  the 
Conquest,  including  points  of  especial  interest  to  a 
seafaring  people  in  those  scenes  which  represent  the 
embarking  of  Harold  and  the  boat  building  of  William. 
In  these  respects  it  closely  resembles  some  of  the  most 
ancient  Egyptian  mural  decorations,  particularly  those 
to  be  seen  in  the  rock  tomb  of  Beni-Hasan  on  the  Nile. 
One  of  the  features  of  the  tapestry  is.  the  embroidery 
of  a  superscription,  in  Latin,  above  each  scene,  giving 
a  short,  simple  and  at  times  almost  quaint  description 
of  the  scene  represented  underneath.  A  short  outline 
'  of  the  pictorial  story  is  as  follows: 

In  the  first  panel  Harold,  son  of  the  earl  Godwine, 
and  brother-in-law  to  the  English  king,  Edward  the 
Confessor,  appears  before  the  king  in  his  royal  palace 
at  Westminster,  and  is  evidently  being  sent  by  the 


8 


BAYEUX  TAPESTRY. 


king  on  a  mission  to  William  of  Normandy,  presuma¬ 
bly  to  inform  the  latter  that,  upon  the  death  of  Edward, 
William  shall  succeed  to  the  throne  of  England. 
Harold  then  starts  off  gaily  with  his  retinue,  and  on 
their  way  to  the  south  coast  of  England  to  embark  for 
Normandy,  a  spirited  hawking  scene  with  hounds  is 
shown  on  the  embroidery.  Arrived  at  his  manor  of  Bos- 
liarn,  Harold  goes  to  church  to  obtain  a  blessing  on  his 
journey,  but  quickly  returns  to  the  manor  house  for  a 
carouse,  before  setting  sail.  He  and  his  companions  are 
seen  pledging  each  other  in  bowls  and  horns  of  wine.  The 
next  scene  is  one  of  the  most  interesting  of  all,  showing 
Harold  and  his  companions  in  the  act  of  embarking. 
These  panels  should  be  studied  carefully,  as  giving  a 
most  interesting  exhibition  of  the  construction  of  the 
ships  of  the  period.  Being  driven  by  a  stress  of  weather 
on  the  coast  of  France,  the  English  party  are  taken 
prisoners,  in  accordance  with  the  inhospitable  custom 
of  the  time,  by  the  lord  of  that  part  of  the  country,  a 
certain  count  Gruy,  of  Ponthieu.  Several  panels  are 
devoted  to  this  portion  of  their  experiences.  William, 
however,  hearing  of  Harold’s  unfortunate  position, 
sends  messengers  to  the  count  and  commands  that  the 
prisoners  be  set  free  and  conducted  to  him  at  his 
capital  of  Rouen.  They  arrive  at  Rouen,  and,  after 
some  interesting  scenes  at  the  Norman  court,  accom¬ 
pany  William  on  an  expedition  against  the  count  of 
Brittany.  During  this  expedition,  Harold  has  occasion 
to  show  his  great  strength,  for  which  he  was  famous, 


BAYEUX  TAPESTRY. 


9 


bv  rescuing  some  soldiers  from  certain  well-known 
quicksands  which  the  company  were  obliged  to  cross. 
The  following  scenes  represent  the  defeat  of  Conan, 
count  of  Brittany,  by  William’s  troops,  and  Harold, 
for  his  bravery,  is  knighted  by  the  Duke.  They  then 
return  to  Bayeux,  when  Harold  takes  his  celebrated 
oath.  The  tradition  is  that  Harold  swore  to  marry 
William’s  daughter,  and  to  give  his  own  sister  in 
marriage  to  the  Norman  Duke,  and  uphold  the  claim 
of  William  to  the  English  throne  upon  the  death  of 
Edward.  On  the  embroidery  is  shown  the  chest  which 
William  caused  to  be  filled  with  the  holiest  relics  and 
then  covered  with  a  pall.  Harold  has  his  hand  upon 
the  chest  as  he  takes  the  oath.  The  ceremony  finished, 
the  chest  is  uncovered,  and  the  relics  then  shown  for 
the  first  time  to  Harold.  The  next  scene  represents  the 
return  of  the  Saxon  earl,  Harold,  as  he  embarks  for 
England  in  a  ship  manned  by  Norman  sailors,  the 
difference  between  Saxon  and  Norman  almost  through¬ 
out  the  tapestry  being  denoted  by  certain  distinguish¬ 
ing  marks,  particularly  the  arrangement  of  the  beard, 
the  Saxon  wearing  a  moustache,  while  the  Norman  is 
clean  shaven.  Upon  his  arrival  in  England,  Harold 
rides  post-haste  to  Westminster  to  report  to  the  king, 
and  is  received  by  Edward,  represented  as  enfeebled 
by  age  and  nearing  his  end.  The  king  is  seated  upon 
his  throne  with  his  sceptre  reversed  in  his  hand. 
Harold,  conveniently  forgetting  his  oath,  in  the  presence 
of  certain  friends,  whom  he  has  assembled  around  the 


10 


BAYEUX  TAPESTRY. 


deathbed  of  the  king,  prompts  one  of  his  friends  to 
urge  Edward  to  name  him,  Harold,  as  his  successor. 
The  king  replies  that  he  has  already  named  Duke 
William.  Harold  himself  then  personally  urges  his 
claim,  and  the  king  in  his  feebleness  replies:  “Let  the 
English  name  the  Duke  or  Harold,  King,  as  they  please ; 
I  consent,”  and  saying  this  he  dies.  Upon  the  day  of 
the  Confessor’s  death  Harold  is  chosen  king,  and  two 
of  the  nobles  notify  him  of  his  election,  and  bring  him 
the  crown  and  official  axe,  and  he  is  crowned  as  repre¬ 
sented  in  the  scene.  Then  follows  the  incident  of  the 
comet,  this  illustration  being  the  earliest  known 
pictorial  representation  of  this  celestial  object,  and 
supposed  to  be  ominous  of  the  coming  invasion  of 
England.  The  news  of  Harold’s  coronation  was  forth¬ 
with  carried  to  Normandy,  and  William,  with  his 
accustomed  decision  of  character,  at  once  sets 
about  to  build  ships  for  the  descent  upon  Eng¬ 
land.  The  men  bring  stores  and  provisions  for  the 
ships,  which  are  being  hauled  down  to  the  sea,  and  the 
duke  embarks  in  the  historical  ship  “Mora,”  given  him 
by  his  wife,  and  the  next  morning,  being  the  28th  of 
September,  1066,  lands  in  England,  at  Pevensey,  unop¬ 
posed.  Then  follows  the  disembarkation  of  the 
horses  and  men,  who  start  out  to  forage  for  breakfast, 
and  we  see  the  lasso  being  used  for  this  purpose.  The 
country  people  fleeing  from  their  homes  at  the  approach 
of  the  Normans,  the  foragers  find  it  an  easy  task  to 
collect  material  for  breakfast,  and  the  following  scenes 


BAYEUX  TAPESTRY. 


11 


tell  an  interesting  story  of  the  preparation  and  enjoy¬ 
ment  of  the  morning  meal.  Bishop  Odo,  William’s 
half-brother,  a  very  notable  person  in  those  times,  is 
seen  seated  on  the  duke’s  left  hand,  and  asks  a  bless¬ 
ing.  Then  follows  a  council  of  war  between  William 
and  his  two  half-brothers,  the  Bishop  and  count 
Robert  of  Mortain.  As  a  result  of  the  council,  orders 
are  given  to  build  a  fort  at  Hastings,  and  we  see  the 
orders  being  carried  out.  After  some  intermediate 
scenes  the  great  battle  of  Hastings  is  begun,  and  at  one 
time  Harold  is  shown  alone  wielding  his  two-handed 
battle-axe  against  fearful  odds.  Bishop  Odo  is  also 
seen  clad  in  armor,  seeking  to  rally  some  of  the  Nor¬ 
man  troops  who  had  been  seized  with  panic.  The 
report  having  gone  abroad  that  William  had  been 
killed,  and  the  Normans  wavering,  the  duke  rushed 
into  the  midst  of  the  fight,  and,  raising  his  helmet,  ex¬ 
claims,  “I  am  here!”  or  perhaps  makes  use  of  the 
very  words  embroidered  on  the  scene,  “Hie  Est  Wilel 
Dux!”  When  the  Normans  at  this  time  were  hardest 
pressed,  William  gave  his  celebrated  order,  “Shoot 
upwards,  Norman  archers!”  Of  the  falling  arrows 
one  pierced  the  eye  of  Harold,  while  valiantly  wielding 
his  axe  in  the  thick  of  the  fight.  As  he  sought  to 
pluck  the  arrow  from  his  eye,  the  shaft  broke,  and  he 
fell  mortally  wounded.  The  English,  demoralized  by 
the  loss  of  their  king,  flee,  as  represented  in  the  scene. 
The  battle  is  over  and  the  story  of  the  tapestry  is  told. 


DETAILED  COMMENTARY  ON  THE  SEPARATE 
SCENES  OF  THE  BAYEUX  TAPESTRY. 


Pages  15-10. 


EDWARD  REX. 


King  Eadward. 

Tlie  opening  scene  represents  King  Eadward  the 
Confessor,  seated  upon  his  throne,  in  an  apartment  of 
the  palace  at  Westminster,  upon  the  site  where  now 
stands  Westminster  Hall.  Attention  is  called  to  the 
checkered  work  on  the  face  of  the  tower.  Examples  of 
this  kind  of  work  are  still  to  be  seen  in  Normandy.  It 
will  be  noticed  also  that  Eadward ’s  crown,  as  well  as  the 
sceptre,  is  ornamented  with  fleurs-de-lys.  Of  the  two 
persons  to  whom  his  remarks  are  addressed  the  taller 
is  Harold,  son  of  the  earl  Godwine,  and  brother-in- 
law  to  the  king  (Eadward  having  married  Editha,  Har¬ 
old’s  sister).  The  more  usual  interpretation  given  to 
this  scene  is  that  it  represents  Eadward  giving  instruc- 


16 


BAYEUX  TAPESTRY. 


tions  to  Harold  to  proceed  on  a  mission  to  Normandy 
to  inform  Duke  William  that  he  has  been  nominated 
by  Eadward  as  his  successor  to  the  English  throne. 

VBI:  HAROLD  DVX:  ANGLORVM:  ET  SVI 
MILITES :  EQVITANT:  AD  BOSHAM: 

Where  Harold,  Duke  of  the  English,  and  his  knights 
ride  to  Bosham. 

Bosham  was  a  manorial  estate  inherited  by  Harold 
from  his  father  on  the  southern  coast  of  England.  From 
this  point  he  prepares  for  his  voyage  across  the  chan¬ 
nel.  Hawking  was  a  favorite  amusement  among  the 
nobles  in  England,  as  well  as  in  France,  at  the  time  of 
the  Conquest,  and  Harold  and  his  companions  indulge 
in  this  pastime  on  their  way  to  the  coast.  Harold’s 
dress  is  here  worthy  of  remark,  for  the  cloak  he  wears, 
fastened  at  the  right  shoulder,  with  a  clasp,  is  an  evi¬ 
dence  of  his  rank,  being  worn  only  by  people  of  high 
birth.  Observe,  also,  that  here,  and  for  the  most  part 
throughout  the  tapestry,  the  Saxons  wear  moustaches, 
while  the  Normans  are  generally  clean  shaven.  That 
the  equipments  of  the  horses,  saddles,  bridles  and 
stirrups,  as  shown  in  this  scene,  should  so  nearly  cor¬ 
respond  to  many  of  those  of  our  own  time,  is  an  inter¬ 
esting  fact. 

ECCLESIA. 

The  Church. 

As  soon  as  Harold  arrives  at  Bosham  he  at  once  pro¬ 
ceeds  to  the  church  to  ask  a  blessing  on  the  enterprise, 


. 


BAYEUX  TAPESTRY. 


17 


but,  this  duty  over,  he  forthwith  returns  to  the  manor 
house  to  indulge  in  a  jovial  carouse  before  setting  sail. 
This  interlude  takes  place  in  an  upper  hall  reached  by 
a  flight  of  steps  on  the  outside,  and  the  gay  party  are 
seen  pledging  each  other  in  bowls  and  horns  of  wine. 

HIC  HAROLD:  MARE  NAVIGrAYIT  i  •  ET 

VELIS:  VENTO:  PLENIS  VENIT:  IN 

TERRA:  WIDONIS  COMITIS. 

Here  Harold  set  sail  upon  the  sea  and  with  sails  filled 
by  the  wind  came  to  the  land  of  Count  Guy. 

In  this  scene  we  see  Harold  and  his  companions 
who  have  not  forgotten  their  hawk  and  dogs,  wading 
out  to  the  ship,  which  is  fitted  with  one  mast  only,  and 
square  rigged  with  a  prominent  figurehead.  The  ves¬ 
sel  is  also  arranged  for  rowers  and  is  steered  by  a  pad¬ 
dle,  in  this  case  handled  by  Harold,  who  is  evidently 
also  giving  directions  in  regard  to  the  setting  of  the 
sail.  The  interlocked  shields  of  the  soldiers  along  the 
side  of  the  vessel  are  doubtless  for  the  purpose  of  in¬ 
suring  a  reasonably  dry  passage  across  the  channel. 
Arrived  safely  on  the  other  side  we  notice  the  various 
incidents  of  the  landing,  men  taking  in  sail,  poling  the 
vessel,  and  one  man  in  the  bow  ready  to  let  go  the 
anchor. 

HAROLD 

Harold. 

Following  the  tradition,  it  would  seem  that  Harold’s 
ship  was  driven  on  the  French  coast  by  a  storm,  though 


18 


BAYEUX  TAPESTRY. 


no  attempt  is  here  made  to  depict  a  shipwreck.  The 
landing,  however,  was  probably  in  some  way  involun¬ 
tary,  as  indicated  in  the  following  scene. 


HIC:  APPREHENDIT:  WIDO :  HAROLDV: 

Here  Guy  seized  Harold. 

No  serious  resistance  seems  to  have  been  made  by  the 
English,  who  are  taken  prisoners  by  Guy  and  his  com¬ 
panions.  In  this  scene  the  fine  breed  of  Norman  horses 
is  especially  noticeable. 


ET  DVXIT:  EVM  AD  BELREM:  ET  IBI  EVM : 

TENVIT : 

And  led  him  to  Beaurain  and  there  imprisoned  him. 

We  here  see  Harold’s  companions  led  away  as  cap¬ 
tives  on  foot,  though  Harold  himself  is  allowed  to  ride, 
and  is  probably  the  first  of  the  two  horsemen,  as  indi¬ 
cated  by  his  costume.  They  each  have  hawks  on  their 
fists.  Guy  probably  obliged  Harold  to  ride  first,  so 
that  he  might  keep  an  eye  on  him  while  on  the  way  to 
the  castle  of  Beaurain. 


VBI:  HAROLD:  “jWIDO  PARABOLANT. 

Where  Harold  and  Guy  converse. 

They  have  now  arrived  at  the  castle  and  Guy  gives 
an  audience  to  Harold  in  a  vaulted  apartment,  the  con- 


MUSEUM  GARDEN  LOOKING  SOUTHWEST. 


BAYEUX  TAPESTRY. 


19 


struction  of  which  should  be  noted.  The  Count  is  seated 
upon  his  throne  with  the  sword  of  justice  in  his  hand. 
Harold  has  had  his  sword  restored  to  him,  and  also  his 
attendant.  In  the  midst  of  the  audience  a  messenger 
enters  from  without,  and  the  reason  for  his  appearance 
is  shown  in  the  next  scene. 


VBI:  NVNTII:  WILHELMI:  DYCIS :  VENERVNT: 
AD  WIDONE. 

Where  Duke  William’s  messengers  came  to  Guy. 

In  this  and  the  two  following  scenes  the  order  of  time 
is,  for  some  unknown  reason,  reversed.  Here  we  see 
the  messengers  arriving,  in  the  next  they  are  on  their 
way,  while  in  the  third  scene  they  are  about  to  start. 
The  messengers  are  evidently  not  well  received,  the 
count  Guy  doubtless  taking  the  ground  that  his  cap¬ 
ture  of  the  Englishmen  was  none  of  William’s  business. 
We  shall  see  further  on,  however,  that  he  finally  con¬ 
cluded  that  it  would  be  safer  to  comply  with  the  Duke’s 
demand  for  the  release  of  the  prisoners.  On  the  lower 
margin  of  this  section  is  represented  an  agricultural 
scene,  comprising  ploughing,  harrowing  and  sowing. 
A  boy  driving  away  birds  with  a  sling  will  also  be 
noted.  The  use  of  the  sling  in  combat,  however,  no¬ 
where  appears,  though  in  more  ancient  times  the 


20 


BAYEUX  TAPESTRY. 


slingers,  as  well  as  the  archers,  were  an  important 
feature  in  warfare. 


TVROLD 

Turold. 

In  the  dwarf  holding  the  horses  of  the  messengers  on 
their  way  to  Beaurain,  it  has  been  suggested  that  we 
may  have  a  representation  of  the  designer  of  the  tapes¬ 
try,  though  this  is  guesswork  only.  In  any  event,  his 
beard  and  shaven  head  leave  no  doubt  of  his  Norman 
nationality. 


NVNTII :  WILHELMI 

William’s  Messengers. 

This  third  scene  should  have  been,  in  the  ordinary 
sequence,  the  first  of  the  three  scenes  here  depicted. 
The  messengers  are  galloping  toward  Beaurain,  and  the 
watchman  in  the  tree  is  probably  one  of  Count  ,Gruy’s 
men  in  the  immediate  neighborhood  of  the  castle,  who, 
in  the  earlier  scene,  apprises  the  count  of  the  arrival  of 
the  messengers. 


+  HIC  VENIT:  NVNTIVS:  AD  WILHELMVM 

DVCEM 

Here  the  messenger  came  to  Duke  William. 

We  here  see  William  seated  upon  his  throne,  while 
his  castle  at  Rouen  is  represented  as  a  square  fortress 


BAYEUX  TAPESTRY. 


21 


flanked  with  towers.  The  Duke  receives  the  little  mes¬ 
senger  who  conies  to  announce  the  capture  of  Harold 
and  his  companions  by  the  count  Guy,  and  forthwith 
despatches  the  two  knights  to  demand  the  release  of 
Harold. 


HIC:  WIDO:  ADDVXIT  HAROLDVM  AD  WIL- 
HELMVM :  NORMANNORVM:  DVCEM. 

Here  Guy  conducted  Harold  to  William,  Duke  of  the 

Normans. 

In  this  scene  we  see  the  result  of  William’s  demand, 
for  Guy  himself  brings  Harold,  who  now  wears  his 
spurs,  and  is  accompanied  by  an  armed  escort  of  his 
own.  The  figure  of  William  is  worked  with  unusual 
care,  and  it  has  been  suggested  that  the  designer  may 
have  been  a  contemporary  of  William'  and  endeavored 
to  give  as  nearly  as  possible  in  this  kind  of  work,  a 
portrait  of  the  Duke. 


HIC:  DVX:  WILGELM:  CVM  HAROLDO: 
VENIT:  AD  PALATIV  SVV 

Here  Duke  William,  together  with  Harold,  came  to  his 

'palace. 

In  this  scene  William  gives  an  audience  to  Harold  in 
his  palace  at  Rouen.  Just  what  was  the  nature  of  the 
interview  it  is  impossible  to  determine,  but  presumably 


22 


BAYEUX  TAPESTRY. 


Harold  delivered  his  message  from  king  Edward.  The 
difficulty  of  interpretation  arises  from  the  following 
scene,  which  apparently  has  no  connection  with  its  pre¬ 
decessor,  unless  their  conversation  touched  in  some 
way  upon  AElfgyva,  who  now  appears  as  the  mysterious 
woman  in  the  case. 


VBI:  VNVS:  CLEEICVS:  ET :  iELFGYVA 

When  a  certain  clerk  and  Aelfgyva.... 

This  superscription  is  incomplete,  whether  by  design 
or  accident  it  is  impossible  to  determine.  In  any  event 
Harold  is  interested  in  the  lady  and  learning  that  she  is 
at  Dol,  on  the  borders  of  Brittany,  and  is  in  danger, 
begs  William  to  assist  in  rescuing  her.  The  request  is 
readily  granted,  more  particularly  as  William  was  about 
setting  out  on  an  expedition  against  Conan,  count  of 
Brittany. 

This  and  the  following  scenes  suggest  a  sort  of  rude 
mediaeval  Trojan  War  romance.  For  an  attempt  to 
unravel  the  mystery  of  Aelfgyva  the  reader  is  referred 
to  Mr.  Fowke’s  book  on  the  Tapestry. 

HIC:  WILLEM:  DVX:  ET  EXEECITVS:  EIVS: 

VENEEVNT:  AD  MONTE  MICHAELIS. 

Here  Duke  William  and  his  army  came  to  Mount 

Saint-Michel. 

We  have  have  a  view  of  Mont  St.  Michel  on  the 
coast  of  Brittany.  In  this  scene  attention  is  called  to 


BAYEUX  TAPESTRY. 


23 


the  different  styles  of  military  dress.  Those  with  coats 
of  mail  and  helmets  are  the  knights.  Those  in  tunics 
and  caps  are  the  common  soldiers.  We  note  here  also 
the  appearance  of  the  cross  on  William’s  standard, 
though  the  crusades  were  not  yet  under  way. 

ET  HIC:  TRANSIERVNT:  FLVMEN :  COSNONIS. 
And  here  they  crossed  the  River  Conesnon. 

This  river  is  the  boundary  between  Normandy  and 
Brittany,  and  empties  into  the  Bay  of  Cancale  opposite 
Mont  St.  Michel.  Here  is  a  shifting  quicksand  and 
the  more  cautious  dismount,  and  pick  their  way  on 
foot,  carrying  their  arms  above  their  heads. 

HIC:  HAROLD:  DVX:  TRAHEBAT:  EOS:  DE 

ARENA. 

Here  Duke  Harold  dragged  them  out  of  the  quicksand. 

Harold  was  famous  for  his  strength,  and  is  here  shown 
with  one  man  on  his  back  while  he  pulls  out  another, 
who  is  about  to  be  engulfed  by  the  sand.  Those  re¬ 
ported  to  have  had  experience  with  the  quicksands  of 
Long  Island,  will  particularly  appreciate  this  scene. 

ET  YENERVNT  AD  DOL:  ET:  CONAN !  •  FVGA 

VERTIT !  • 

And  they  came  to  Dot  and  Conan  fled. 

The  siege  of  Dol  by  Conan  was  apparently  unexpected 
by  William,  for  his  men,  galloping  up  to  the  walls,  are 
not  in  armor. 


24 


BAYEUX  TAPESTRY. 


Conan’s  soldiers  are  nevertheless  represented  as  flee¬ 
ing  upon  William’s  approach,  possibly  anticipating  be¬ 
ing  overpowered  by  numbers. 

REDNES 

Rennes. 

This  was  the  capital  of  Brittany  where  Conan  is 
supposed  to  have  fled  to  gather  reinforcements. 

HIC  MILITES  WILLELMI:  DVCIS:  PVGNANT: 
CONTRA  DINANTES:-  ET:  CVNAN :  CLAVES: 

PORREXIT !  • 

Here  Duke  William’s  soldiers  fight  against  the  men 
of  Dinan,  and  Conan  reached  out  the  keys. 

Here  we  have  an  interesting  scene  representing  the 
attack  and  repulse  of  a  fortified  town  in  the  eleventh 
century.  The  Norman  soldiers  in  armor  are  seen  as  the 
attacking  party.  While  the  conflict  is  at  its  height 
two  knight  are  seen  setting  fire  to  the  palisades,  which 
must  therefore  have  been  of  wood,  indicating  a  very 
primitive  method  of  defensive  walls.  The  fire  may 
have  induced  a  surrender,  for  Conan  is  now  seen  hand¬ 
ing  out  the  keys  of  the  town  on  a  lance,  and  William 
receives  them  in  the  same  manner. 

HIC:  WILLELM:  DEDIT:  HAROLDO:  ARMA. 

Here  William  gave  Harold  arms. 

Harold’s  conduct  in  the  campaign  against  Conan  was 
evidently  highly  satisfactory  to  William,  who  forth- 


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BAYEUX  TAPESTRY. 


25 


with  knighted  him  after  the  affair  at  Dinan.  Harold  in 
this  scene  is  shown  holding  the  banner  which  has  been 
given  him  as  a  symbol  of  his  new  dignity. 

It  may  be  mentioned  here  that  the  defensive  armor  of 
the  period  both  in  Normandy  and  England  was  a  com¬ 
bination  of  leather  and  steel.  The  Norman  weapons  of 
offence  were  bows  and  arrows,  a  lance,  a  sword,  and  the 
mace.  The  English  on  the  other  hand,  made  the  heavy 
two-handed  battle  axe  their  principal  offensive  weapon, 
though  they  used  also  the  javelin  and  sword,  and,  to  a 
limited  extent,  the  bow  and  arrow.  The  nose-piece, 
somewhat  after  the  manner  of  a  modern  football  team, 
is  also  worthy  of  remark  as  shown  in  some  of  the 
scenes. 

The  size  and  strength  of  the  individual  soldier  be¬ 
came  therefore  a  most  important  factor  in  every 
encounter.  Had  the  English  cultivated  the  use  of  the 
bow  and  arrow  to  a  greater  extent,  the  result  of  the 
battle  of  Hastings,  shortly  to  be  recorded  on  the 
tapestry,  might  have  been  different. 


HIC  WILLELM  VENIT:  BAGIAS  VBI  HAROLD: 
SACRAMENTVM:  FECIT  !  •  WILHELMO  DVC1 !  • 

Here  William  came  to  Bayeux  where  Harold  made  an 
oath  to  Duke  William. 

The  oath  of  Harold  here  depicted  is  one  of  the  best 
known  and  oftenest  repeated  episodes  of  Harold’s  mis- 


26 


BAYEUX  TAPESTRY. 


sion  to  Normandy.  There  is  some  doubt  as  to  the 
nature  of  the  oath,  but  the  commonly  accepted  version 
is  that  Harold  swore  to  marry  William’s  daughter,  and 
give  his  own  sister  in  marriage  to  one  of  the  Norman 
nobles,  and  defend  William’s  title  to  the  English  crown 
upon  the  death  of  Eadward.  The  story  runs  that  Wil¬ 
liam  brought  a  chest  filled  with  the  holiest  relics  and 
then  covered  the  chest  with  a  pall.  Harold  then  took 
his  oath,  as  shown  in  the  scene,  with  one  hand  on  the 
covered  chest,  and  the  other  on  the  altar.  After  the 
oath  the  pall  was  removed,  upon  the  order  of  Wil¬ 
liam,  and  Harold  was  made  aware  of  the  sacred  con¬ 
tents  of  the  chest.  Harold,  in  subsequently  breaking 
his  oath,  always  claimed  that  both  duress  and  deceit 
had  been  practised  upon  him  by  William.  In  the  tap¬ 
estry  we  see  the  party  approaching  Bayeux  over  a 
bridge  on  their  way  to  the  place  designated  for  the 
ceremony  of  the  oath.  On  one  of  the  columns  of  the 
nave  of  the  Cathedral  at  Bayeux  is  sculptured  this 
scene  of  the  oath,  borrowed  from  the  tapestry. 


HIC  HAROLD:  DVX !  •  REVERSVS:  EST  AD 
ANOLICAM:  TERRAM !  • 

Here  Duke  Harold  returned  to  England. 

Having  secured  the  fidelity  of  Harold  so  far  as  lay 
in  his  power,  William  grants  him  a  safe  conduct  to 
England  and  we  see  Harold  returning  to  his  native 


BAYEUX  TAPESTRY. 


27 


land,  in  a  ship  apparently  manned  by  Norman  sailors. 
The  ship  having  been  signalled,  probably  at  Boshain 
manor,  the  point  from  which  the  original  party  set  sail, 
the  windows  of  the  house  are  shown  filled  with  gazers, 
ready  to  welcome  Harold  after  his  many  adventures. 
Among  others  the  one  upon  the  balcony  is  probably 
Harold’s  wife  Ealdgyth. 


ET  VENIT :  AD :  EDWARD V  !  •  REGEM  !  • 

And  came  to  King  Eadward. 

Upon  disembarking,  Harold,  sending  a  messenger 
ahead  to  announce  his  arrival,  proceeds  forthwith  to 
Westminster  to  report  to  the  king.  The  latter,  repre¬ 
sented  as  enfeebled  by  age  and  ill-health,  is  seated 
upon  his  throne,  with  his  sceptre  reversed  in  his  hand, 
evidently  taking  very  little  interest  in  terrestrial 
affairs. 


HIC  PORTATVR  CORPVS  EADWARDI  REGIS 
AD  ECCLESIAM  SCI  PETRI  APLI 

Here  King  Eadward’ s  body  is  carried  to  the  church 
of  St.  Peter  the  Apostle. 

Here  again,  as  similarly  noted  in  one  of  the  former 
scenes,  the  order  of  time,  for  some  unexplained  reason, 
is  reversed  in  the  tapestry,  so  that  the  burial  precedes 
the  pictorial  representation  of  the  last  hours  and  death 
of  the  king.  The  great  lack  of  proportion  among  the 


28 


BAYEUX  TAPESTRY. 


objects  represented,  is  especially  notable  in  this  scene. 
The  funeral  ceremonies  are  simple  enough.  The  body 
of  the  king  is  borne  upon  a  bier,  while  boys,  ringing 
bells,  walk  beside  the  body,  followed  by  the  clergy. 

The  place  of  burial,  Westminster  Abbey,  where  the 
remains  of  the  king  are  still  supposed  to  lie,  was  at  that 
time  called  the  church  of  St.  Peter  the  Apostle.  The 
hand  issuing  from  the  cloud  above,  doubtless  represents 
some  religious  portent  indicative  of  the  saintly  charac¬ 
ter  of  Eadward,  for  he  was  afterwards  canonized.  The 
large  figure  of  a  man,  much  out  of  proportion,  affixing  a 
weather-cock  at  the  east  end  of  the  church,  is  supposed 
to  suggest  the  very  recent  completion  of  the  structure, 
which  had  been  begun  by  Eadward  himself.  The  archi¬ 
tecture  of  this  church,  upon  the  present  site  of  West¬ 
minster  Abbey,  should  be  carefully  noted. 


HIC  EADWARD  VS :  REX  IN  LECTO  i  ALLOQVIT : 

FIDELIS !  • 

Here  King  Eadward,  in  bed,  speaks  to  his  Vassals. 

Assuming  that  Eadward  had  the  right  to  dispose  of 
the  crown  of  England  by  nuncupative  will,  this  scene, 
as  affecting  the  rival  claims  of  Harold  and  William  to 
the  English  throne  is  the  most  interesting  of  all.  Ead¬ 
ward  is  upon  his  death  bed,  surrounded  by  English 
nobles,  and  the  English  archbishop  Stigand. 

One  of  the  English  nobles  entreats  the  dying  king  to 
designate  Harold  as  his  successor.  He  feebly  replies 


BAYEUX  TAPESTRY. 


29 


that  he  has  already  named  Duke  William.  Then  Har¬ 
old  personally  urges  the  king  in  his  own  favor.  Over¬ 
come  with  the  weakness  of  approaching  death,  Ead- 
ward  finally  replies:  “Let  the  English  make  the  Duke 
or  Harold  king,  as  they  please;  I  consent.” 

In  considering  the  legal  effect  of  this  scene  it  would 
certainly  seem  that  the  Norman  lawyers  could,  and 
doubtless  did  claim  “undue  influence”  on  the  part  of 
Harold  and  his  friends. 


ET  HIC:  DEFVNCTVS  EST 
And  here  he  is  dead. 

The  body  is  here  being  prepared  for  burial.  The 
ecclesiastic  is  probably  the  archbishop  Stigand. 


HIC  DEDERVNT  HAROLDO  CORO-NA  REGIS. 

Here  they  gave  to  Harold  the  crown  of  the  King. 

Eadward  the  Confessor  had  passed  his  youth  in  Nor¬ 
mandy,  and  was  in  reality  more  fond  of  the  Normans 
than  the  English.  For  this,  and  doubtless  other  rea¬ 
sons,  he  had  originally  settled  on  his  cousin  William  as 
his  successor.  The  English,  however,  had  no  intention 
of  receiving  a  foreign  king  in  the  form  of  a  legacy  from 
a  feeble  old  man.  Upon  the  death  of  Eadward,  there¬ 
fore,  the  Assembly  forthwith  met  and  proclaimed 
Harold,  their  fellow-countryman,  king. 


30 


BAYEUX  TAPESTRY. 


The  scene  here  represents  a  committee  of  two,  ap¬ 
pointed  by  the  Witan  of  England,  offering  Harold  the 
crown  and  official  axe. 

HIC  RESIDET:  HAROLD  REX:  ANGLORVM: 

Here  is  seated  Harold ,  King  of  the  English. 

Harold  is  here  represented  as  having  been  crowned 
by  archbishop  Stigand,  a  fact  sufficient  in  Norman 
eyes  to  invalidate  his  claim,  as  Stigand ’s  ecclesiastical 
title  was  not  recognized  by  the  Pope.  The  coronation 
takes  place  in  an  apartment  of  the  palace  at  West¬ 
minster,  and  the  people  are  seen  applauding  without. 

STTGANT  ARCHIEPS 
Archbishop  Stigand. 

The  conspicuous  position  here  given  in  the  tapestry 
to  Stigand  is  probably  meant  merely  to  accentuate  the 
invalidity  of  Harold’s  title.  The  archepiscopal  see  of 
Canterbury  had  been  bestowed  upon  Stigand  by  the 
king’s  writ,  but  Pope  Alexander  had  refused  him  the 
pallium.  His  subsequent  investment  by  Benedict,  the 
anti-pope,  had  only  complicated  and  embittered  the 
controversy. 

ISTI  MIRANT  STELLA 

These  men  are  dismayed  at  the  star. 

The  appearance  of  this  comet  is  an  historical  fact, 
commented  upon  by  the  chronicles  of  the  time.  It  was 
supposed  to  be  a  portent  of  the  invasion  of  England. 


BAYEUX  TAPESTRY. 


31 


It  is  particularly  interesting  as  being  the  first  pictorial 
representation  of  a  comet  that  has  come  down  to  us,  and 
is  now  recognized  as  Halley’s  Comet. 

HAROLD 

Harold. 

We  see  here  a  messenger  who  brings  to  Harold  a 
sword.  Taken  in  connection  with  the  ships  on  the 
border,  this  scene  may  represent,  by  way  of  anticipa¬ 
tion,  news  of  William’s  invasion. 

HIC:  NAVIS:  ANGLIC  A:  VENIT-  IN  TERRAM 
WILLEMI:  DVCIS 

Here  an  English  ship  came  into  the  territory  of  Duke 

William. 

Eadward’s  Norman  affiliations  had  induced  many 
nobles  of  that  country  to  follow  him  into  England. 
These,  doubtless,  kept  William  well  informed  of  all 
that  was  going  on  in  England,  and  this  ship  may  have 
been  chartered  by  a  party  of  Normans  returning  to 
their  own  country  after  Eadward’s  death. 

HIC:  WILLELM  DVX:  IVSSIT  NAVES: 
EDIFIC  ARE : 

Here  Duke  William  gave  orders  to  build  ships. 

As  soon  as  William  heard  of  Harold’s  coronation  he 
lost  no  time,  but  began  at  once  his  preparations  for  a 
descent  upon  England.  The  prime  necessity  for  a  naval 
expedition  is  evidently  ships,  so  these  are  first  attended 


32 


BAYEUX  TAPESTRY. 


to,  and  we  here  follow  their  construction  from  the  fell¬ 
ing  of  the  trees  to  their  actual  launching.  In  this  scene 
we  notice  for  the  first  time  Bishop  Odo,  William’s  half 
brother.  He  is  designated  by  his  tonsure.  He  was  one 
of  the  most  active  spirits  in  the  whole  enterprise,  his 
zeal  doubtless  stimulated  by  the  thought  of  the  part 
taken  by  the  heretic  archbishop  Stigand  across  the 
channel. 


o 

HIC  TRAHVNT:  NAVES:  AD  MARE  !  • 

Here  they  drag  the  ships  to  the  sea. 

The  size  of  the  ships  in  the  eleventh  century  evidently 
did  not  require  any  very  extensive  dockyard  facilities, 
for  in  these  scenes  the  ships  are  simply  put  together  on 
land  and  then  hauled  down  to  the  sea.  Comparing  the 
date  of  Harold’s  coronation  with  William’s  descent  on 
England  it  would  seem  that  the  whole  preparation  for 
the  expedition,  including  the  building  and  equipment 
of  the  fleet,  did  not  require  over  six  or  eight  months. 
It  is  said  that  William  crossed  the  channel  with  3,000 
ships  and  60,000  men. 

ISTI  PORT  ANT:  ARMAS':  AD  NAVES:  ET  HIC 
TRAHVNT:  CARRV.M  CVM  VINO:  ET 
ARMIS :  • 

These  men  carry  arms  to  the  ships,  and  here  they 
drag  a  cart  with  wine  and  arms. 

The  custom  of  regarding  wine  as  a  necessary  article 
of  subsistence  for  all  classes  of  the  population,  which 


BAYEUX  TAPESTRY. 


33 


still  prevails  in  France  and  other  European  countries, 
is  shown  in  this  scene.  The  invaders  relied  on  England 
for  food,  but  knew  they  must  carry  their  wine  with 
them. 

+HIC:  WILLELM:  DVX  IN  MAGNO:  NAVIGIO: 
MARE  TRANSIVIT  ET  VENIT  AD 
PEVENESiE !  • 

Here  Duke  William  crossed  over  the  sea  in  a  great 
ship  and  came  to  Pevensey. 

The  expedition  set  sail  from  S.  Valery-sur-Somme  on 
September  27tli,  1066,  and  in  this  scene  is  shown  the 
historic  “Mora,”  the  ship  presented  to  William  by  his 
wife  Matilda.  The  invasion  of  England  had  received 
the  papal  sanction,  and  the  reigning  Pope,  Alexander 
II  presented  William  with  a  consecrated  banner,  which 
is  here  seen  at  the  masthead  of  the  “Mora.”  At  the 
stern  is  seen  the  effigy  of  his  little  son  Rufus,  who 
later,  upon  the  death  of  his  father,  ascended  the  Eng¬ 
lish  throne.  At  nine  o’clock  on  the  next  morning  after 
setting  sail  William  landed  at  Pevensey,  in  Sussex,  on 
the  south  coast  of  England,  unopposed. 


HIC  EXiEVNT :  CABALLI  DE  NAVIBVS:* 

Here  the  horses  go  out  of  the  ships. 

Even  at  the  present  day  it  is  no  easy  matter  to  trans¬ 
port  horses  across  the  sea,  so  that  the  disembarkation 


34 


BAYEUX  TAPESTRY. 


of  the  horses  is  here  properly  accorded  a  place  in  a  sep¬ 
arate  scene. 


ET  HIC:  MILITES :  FESTINAVERVNT :  HES- 
TINGA:  VT  CIBVM  .  RAPERENTVR  ! 

And  here  the  soldiers  hurried  on  to  Hastings  to  find 

food. 

The  appearance  of  the  invaders  naturally  demoralized 
the  unarmed  peasants,  who  deserted  their  farms,  leav¬ 
ing  the  oxen,  sheep  and  pigs  an  easy  prey  for  the  Nor¬ 
man  soldiers,  who  proceed  to  help  themselves.  We 
note  with  interest  the  use  of  the  lasso  by  one  of  the 
foragers. 


HIC  EST  WADARD 
Here  is  Wadard. 

This  person  is  unknown  to  fame,  except  for  the  ref¬ 
erence  made  here  in  the  tapestry.  That  no  mention 
should  have  been  made  of  him  in  any  of  the  chronicles 
has  been  advanced  as  one  of  the  reasons  for  believing 
the  tapestry  to  be  practically  a  contemporary  work  with 
the  scenes  it  describes.  Wadard  is  here  seen  taking 
part  in  the  fun  incident  to  the  capture  of  a  small  pack- 
horse,  connected  with  which  there  was  doubtless  some 
joke  well  known  to  the  soldiers,  just  the  sort  of  thing 


BAYEUX  TAPESTRY. 


35 


for  a  contemporary  to  introduce  into  a  work  of  this 
kind. 


HIC:  COQVITER:  CARO  ET  HIC:  MINISTRAVN 

MINISTRI : 

Here  meat  is  cooked  and  here  the  servants  serve. 

Here  we  see  the  result  of  the  successful  work  of  the 
preceding  scenes.  The  cooks  and  baker  are  hard  at 
work  and  the  things  are  being  served  on  the  shields  of 
the  soldiers,  who  have  thus  improvised  a  table  for  the 
purpose.  In  accordance  with  a  custom  still  sometimes 
practiced  in  our  own  country  districts,  a  blast  on  the 
horn  notifies  those  at  a  distance  that  dinner  is  ready. 


HIC  FECERVN:  PRANDIVM :  ET  •  HIC  •  EPIS- 
COPVS :  CIBV:  ET :  POTV:  BENEDICIT: 

Here  they  make  a  feast,  and  here  the  Bishop  blesses 
the  food  and  drink. 

Here  we  see  the  dinner  under  full  headway  at  a  table 
in  the  form  of  a  half  circle.  There  are  knives  but  no 
forks,  the  latter  being  a  modem  invention.  The  ec¬ 
clesiastic  asking  the  blessing  is  the  celebrated  Odo, 


36 


BAYEUX  TAPESTRY. 


Bishop  of  Bayeux,  seated  on  the  left  of  William,  his 
half  brother. 


ODO:  EPS  WILLELM:- 

ROTBERT: 

Bishop  Odo.  William.  Robert. 

The  three  are  holding  a  counsel  of  war.  Odo  is  the 
speaker  and  the  result  of  their  deliberations  is  shown 
in  the  following  scene: 


ISTE  •  IVSSIT:  VT  FODERETVR :  CASTELLVM: 
AT  -•  HESTENGA. 

The  latter  commanded  that  a  rampart  should  be 
thrown  up  at  Hastings. 

ISTE  refers  to  Robert  of  Mortain,  the  last  name 
among  the  three  embroidered  in  the  preceding  scene. 
He  it  is  who  looks  after  the  details  of  the  work.  It 
will  be  noticed  that  the  spades  have  only  one  tread 
for  the  foot. 


CEASTRA. 
The  camp. 


We  see  the  fort  on  the  mound  that  has  been  thrown 
up.  This  fort  is  probably  of  wood  and  has  been  brought 


BAYEUX  TAPESTRY. 


37 


over  from  Normandy,  for  such  portable  strongholds 
were  common  at  that  time. 

HIC:  NVNTIATVM  EST:  WILLELM  DE  HAR¬ 
OLD: 

Here  tidings  are  brought  to  William  of  Harold. 

We  here  see  William  seated,  with  the  consecrated 
banner  in  his  hand,  listening  to  the  story  of  an  armed 
knight,  who  is  doubtless  telling  him  of  Harold’s  great 
victory  in  the  north  over  the  Norwegians,  allies  of  the 
Normans,  headed  by  Tosti,  Harold’s  rebellious  brother. 

HIC  DOMVS  INCENDITVR 

Here  a  house  is  burnt. 

Previous  to  the  actual  engagement  it  would  seem 
from  this  that  some  excesses  were  committed. 

HIC:  MILITEs :  EXIERVNT :  DE  HESTENGA: 
ET:  VENERVNT  AD  PRELIVM:  CONTRA: 
HAROLD VM :  REGE  i 

Here  the  Knights  left  Hastings  and  came  to  give 
battle  to  King  Harold. 

William  comes  forth  from  Hastings  and  puts  himself 
at  the  head  of  his  army.  Accompanying  him  is  a 
knight,  together  with  two  standard  bearers,  one  carry¬ 
ing  the  consecrated  banner,  of  which  so  much  is  natur- 


38 


BAYEUX  TAPESTRY. 


ally  made,  and  the  other  a  banner  which  is  supposed  to 
represent  the  celebrated  Black  Baven  of  the  Danes. 

HIC:  WILLELM:  DVX  INTERROGAT:  VITAL: 

SI  VIDISSET  HAROLDI  EXERCITV  : 

Here  Duke  William  asks  Vital  if  he  had  seen  the 
army  of  Harold. 

Vital  is  evidently  one  of  a  returning  scouting  party, 
and  his  gestures,  in  replying  to  William’s  question,  in¬ 
dicate  that  he  and  his  soldiers  had  seen  the  English 
army. 

ISTE  NVNTIAT :  HAROLD VM  REGE  DE 
EXERCITV  WILELMI 

One  informs  King  Harold  concerning  the  army 
of  Duke  William. 

Harold  had  taken  up  his  position  on  the  Hill  of  Sen- 
lac,  and  also  sends  out  scouts  to  learn  of  the  position  of 
William’s  army.  We  here  see  one  of  the  spies  taking 
observations  from  a  hill  and  then  reporting  to  Harold. 

HIC  WILLELM  DVX  ALLOQVITVR  SVIS 

MILITIBVS  VT  PREPARAREN  SE  VIRILITER 

ET  SAPIENTER  AD  PRELIVM  C’ONRA 
ANGLORVM  EXERCITV. 

Here  Duke  William  exhorts  his  soldiers  to  prepare 
themselves  manfully  and  discreetly  for  the  battle 
against  the  army  of  the  English. 

The  battle  is  now  about  to  begin.  The  policy  of 
Harold  in  risking  everything  in  this  one  battle  had 


BAYEUX  TAPESTRY. 


39 


been  much  criticized  by  his  brother  Gyrth,  who  urged 
him  to  harass  the  enemy  and  wear  them  out  by  delays, 
the  English  having  the  great  advantage  of  being  in 
their  own  country,  and  therefore  able  to  obtain  re-en¬ 
forcements  from  time  to  time.  Harold,  however,  doubt¬ 
less  flushed  with  his  recent  victory  over  the  Nor¬ 
wegians,  was  determined  to  hazard  everything,  and  had 
previously  declared  that  he  would  either  be  the  victor 
in  this  one  fight  or  die  in  the  attempt  to  maintain  his 
throne.  The  archers,  who  were  such  a  prominent  fea¬ 
ture  on  the  Norman  side,  preceded  the  cavalry  and  the 
battle  is  begun  by  a  flight  of  arrows.  The  mounted 
knights  then  rush  forward,  but  are  met  by  the  inter¬ 
locked  shields  of  the  English  phalanx  standing  shoulder 
to  shoulder.  Harold,  surrounded  by  his  standard 
bearer  and  his  four  brothers,  is  seen  wielding  his 
famous  two-handed  battle  axe.  The  incidents  of  the 
fight  now  begin  to  be  depicted  on  the  border  of  the 
tapestry. 


HIC  CECIDERVNT  LEWINE  ET:  GYRD : 
FRATRES :  HAROLDI  REGIS. 

Here  fell  Leofwine  and  Gyrth,  brothers  of  King 

Harold. 

In  this  scene  are  shown  Harold  and  his  brothers  mak¬ 
ing  a  stand  against  the  Normans.  In  the  encounter 
the  two  brothers  above  mentioned  are  killed,  leaving 
Harold  with  his  battle  axe  to  contend  alone.  As  men- 


40 


BAYEUX  TAPESTRY. 


tioned  above,  it  was  Gyrth  who  advised  against  risking 
everything  on  the  issue  of  a  single  battle. 


HIC  CECIDERVN  SIMVL:  ANGLI  ET  FRANCI: 

IN  PRELIO. 

Here  English  and  French  fell  at  the  same  time  in 

battle. 

Here  we  have  the  climax  of  the  fight.  The  Normans 
had  been  repulsed,  or,  according  to  one  account,  had 
purposely  retreated  as  though  overpowered,  in  order  to 
deceive  the  English,  only  to  rally  suddenly  and  turn 
upon  their  pursuers. 

HIC.  ODO  EPS:  BACVLV.  TENENS  CONFORM 
TAT  PVEROS. 

Here  Bishop  Odo,  holding  a  club,  rallies  the  young 

troops. 

The  activity  of  the  upper  clergy  in  the  actual  fight¬ 
ing,  both  on  the  Norman  and  English  side,  was  one  of 
the  features  of  the  conflict,  only  following,  however, 
the  custom  of  the  time.  By  the  word  “PVEROS” 
is  probably  meant  those  who  were  having  their  first 
actual  experience  of  war. 

hic  est:-  wilel  dvx:- 

Here  is  Duke  William. 

It  appears,  according  to  the  chroniclers,  that  at  one 
time  a  report  was  spread  abroad  that  Duke  William 


BAYEUX  TAPESTRY. 


41 


had  been  killed,  and  a  panic  was  about  to  ensue  among 
the  Normans.  Hearing  of  this  report  William  hurried 
to  the  front  and,  raising  his  helmet  and  showing  himself 
to  his  troops,  exclaimed:  “I  am  here,”  or  perhaps 
made  use  of  the  actual  words  of  the  inscription: 

E....TIVS. 

Eustace. 

During  the  above  scene  Eustace,  Count  of  Boulogne, 
was  at  William’s  side,  and  he  seems  to  have  been  of 
sufficient  importance  in  the  battle  to  accord  him  sepa¬ 
rate  mention  in  the  tapestry. 

HIC:  FRANCI  PVGNAN  ET  CECIDERVNT 
QVT  ER  ANT :  CVM  HAROLDO  !  • 

Here  the  French  fight  and  those  who  were  ivith  Har¬ 
old  fell. 

This  scene  shows  that  the  Normans  had  practically 
won  the  day,  and  just  at  this  time  William  gave  his 
celebrated  order,  “Shoot  upwards,  Norman  archers.” 
The  border  here  illustrates  this  feature  of  the  fight. 
The  shield-wall  of  the  English  was  of  no  avail  against 
the  falling  arrows  and  demoralization  quickly  followed. 

hic  harold:-  rex:-  interfectvS:  est. 

Here  King  Harold  was  slain. 

It  was  while  still  bravely  wielding  his  axe  that,  fol¬ 
lowing  the  chroniclers,  a  falling  arrow  pierced  Harold 


42 


BAYEUX  TAPESTRY. 


in  the  eye.  Seeking  to  pluck  it  out  the  shaft  broke  in 
his  grasp  and  the  English  king  fell  mortally  wounded. 
With  the  death  of  Harold  the  battle  is  over  and  Wil¬ 
liam  becomes  master  of  England. 


ET  FVGA :  VERTERVN  ANGLI. 

And  the  English  -fled. 

It  has  been  conjectured  that  the  original  tapestry  was 
still  further  continued  by  additional  scenes  so  as  to 
include  the  coronation  of  William.  If  this  be  true, 
there  is  at  the  present  time  no  record  of  that  fact,  aiid 
for  us  the  story  of  the  tapestry  is  told  with  the  defeat 
of  the  English  at  the  battle  of  Hastings. 


THE  ROYAL  EFFIGIES. 


SOUTH  SIDE  OF  THE  MUSEUM. 


THE  ROYAL  EFFIGIES. 


The  royal  effigies,  in  half  length,  here  exhibited  at 
Southampton,  are  copies  from  electrotype  reproduc¬ 
tions  now  in  the  possession  of  the  National  Portrait 
Gallery  at  London.  The  original  electrotype  copies 
were  made  about  twenty-five  years  ago  from  moulds 
taken  from  the  effigies  themselves,  which  in  full  length, 
made  either  in  bronze,  metal,  alabaster  or  marble, 
lie  recumbent  upon  the  royal  tombs  in  Westminster 
Abbey  and  Canterbury  Cathedral. 

The  plaster  copies  here  shown,  made  with  the  kind 
permission  of  the  trustees  of  the  National  Portrait  Gal¬ 
lery,  are,  curiously  enough,  considering  the  interest  of 
the  effigies,  the  only  copies  that  have  ever  been  taken 
from  the  original  electrotype  reproductions.  The  fol- 


46 


THE  ROYAL  EFFIGIES. 


lowing  is  a  list,  in  historical  sequence,  of  the  effigies 
and  portrait  busts  of  these  Plantagenet  and  Tudor 
kings  and  queens,  with  one  or  two  affiliated  royal  per¬ 
sonages,  with  the  dates  of  their  birth  and  death: 


Henry  III . 1207-1272 

Eleanor  of  Castile . 1245-1290 

Edward  III . 1312-1377 

Edward,  “The  Black  Prince”  (the 
only  electrotype  copy  in  this  col¬ 
lection  )  . 1330-1376 

Richard  II . 1366-1400 

Henry  IV . 1366-1413 

“The  Lady  Margaret,”  countess  of 
Richmond  (mother  of  Henry  VTI.)  .1441-1509 

Henry  VII . 1456-1509 

Elizabeth  of  York  (wife  of  Henry  VII. )  1466-1502 

Portrait  bust  of  Henry  VIII . 1491-1547 

Queen  Elizabeth . 1533-1603 

Portrait  bust  of  Mary  Stuart,  Queen 

of  Snots . 1542-1587 


HENRY  HI. 
(1207-1272.) 
Pflgp  4  7. 


HENRY  III. 


(1207-1272.) 

Henry  III.,  called  of  Winchester,  was  the  son 
of  king  John  of  England  and  Isabella  of  Angou- 
leme.  He  came  to  the  throne  upon  the  death  of  his 
father,  and  ten  days  after  that  event,  at  the  age  of 
nine,  was  crowned  at  Gloucester,  October  28,  1216.  He 
was  king  for  fifty-six  years,  the  third  longest  reign  in 
English  history,  being  exceeded  only  by  those  of 
George  III.  and  Victoria.  During  Henry’s  minority, 
under  the  guidance  of  able  counsellors,  England  en¬ 
joyed  a  period  of  comparative  peace,  in  marked  con¬ 
trast  to  the  confusion  and  turmoil  of  his  father’s  reign. 
The  Great  Charter,  extorted  by  the  Barons  from 
king  John  at  Runnymede  in  1215,  was  enlarged  in  its 
scope  and  confirmed.  In  the  earlier  days  of  English 
history,  the  character  of  the  sovereign,  as  affecting  the 
peace  and  prosperity  of  the  people,  was  of  the  utmost 


48 


THE  ROYAL  EFFIGIES. 


importance,  and  as  Henry  grew  up  it  was  discovered, 
with  ever-increasing  alarm,  that  he  had  none  of  the 
qualities  of  a  ruler.  Hampered  by  the  provisions  of 
the  Great  Charter,  he  endeavored  to  throw  off  its  re¬ 
straints,  and  hence  arose  the  Barons’  War,  wherein  the 
rights  and  liberties  of  the  people  were  championed  by 
Simon  de  Montfort,  earl  of  Leicester.  It  is  to  Simon 
de  Montfort  (more  than  to  any  other  individual  of  those 
early  times)  that  the  English-speaking  race  owes  its 
initiation  into  the  form  and  substance  of  popular  gov¬ 
ernment,  for  it  was  he  who,  in  1265,  having  defeated  the 
forces  of  the  king,  summoned  the  first  Parliament  that 
the  people  (though  that  word  is  used  in  a  restricted 
sense)  had  any  real  share  in  electing. 

Henry  III.  was  a  feeble,  extravagant,  irresolute  king. 
He  died  in  1272  at  the  age  of  sixty-five.  “He  was  as 
much  a  king  in  death  as  he  had  ever  been  in  life.  He 
was  the  mere  pale  shadow  of  a  king  at  all  times.” 


The  original  full-length  effigy  in  bronze,  of  which 
this  is  a  half-length  copy  in  plaster,  is  a  recumbent 
figure  upon  his  tomb  in  the  chapel  of  Edward  the  Con¬ 
fessor,  in  Westminster  Abbey. 


ELEANOR  OF  CASTILE. 

(1245-1290.) 

Eleanor  of  Castile,  wife  of  Edward  I.,  was  the  daughter 
of  Ferdinand  III.,  king  of  Castile.  At  the  time  of  the 


ELEANOR  OF  CASTILE. 
ri24r>  1200.) 

Rage  4S. 


THE  ROYAL  EFFIGIES. 


49 


death  of  his  father,  Henry  III.,  in  1272,  Edward  (born 
at  Westminster  in  1239)  was  away  in  the  Holy  Land 
on  a  crnsade,  accompanied  by  his  popular  and  accom¬ 
plished  wife,  and  did  not  return  to  England  until  two 
years  after  he  became  king.  Arriving  in  England  by 
way  of  Italy,  in  1274,  at  the  age  of  thirty-six,  he  was 
received  with  enthusiasm  by  the  whole  people  who  were 
proud  of  their  knightly  king  (it  was  the  height  of  the 
age  of  chivalry),  who  had  acquired  great  distinction  by 
his  conduct  in  the  Holy  War  in  the  East,  and  he  and 
his  queen  were  forthwith  crowned  with  magnificence 
in  Westminster  Abbey. 

A  resolute  monarch,  Edward  I.  introduced  many 
reforms,  and,  ruling  England  with  a  firm  hand  for 
thirty-five  years,  extended  his  kingdom  so  as  to  em¬ 
brace  Wales  and  most  of  Scotland.  The  wars  with 
Scotland  developed  the  character  of  Sir  William  Wal¬ 
lace,  who  has  remained  down  to  our  own  day,  the 
typical  hero  of  his  country.  After  an  heroic  resistance 
he  was  captured  and  brought  to  England,  and  executed 
as  an  outlaw. 

Just  after  Wales  was  subdued,  queen  Eleanor  gave 
birth,  in  the  Welsh  castle  of  Carnarvon,  to  a  son,  and 
the  king,  showing  him  to  the  Welsh  people  as  one  of 
their  fellow-countrymen,  called  him  Prince  of  Wales, 
thus  fulfilling  his  promise  that  one  of  their  own  coun¬ 
trymen  who  could  speak  neither  French  nor  English 
should  rule  over  them.  At  least  so  the  story  runs. 


50 


THE  ROYAL  EFFIGIES. 


This  prince,  his  elder  brothers  having  died  before  him, 
after  the  death  of  his  father,  became  Edward  II.  of  Eng¬ 
land.  Ever  since  this  episode  the  heir  to  the  English 
throne  has  been  known  as  the  Prince  of  Wales. 

Following  and  preceding  the  disastrous  reigns  of  his 
father  and  son  respectively,  the  reign  of  Edward  I.,  from 
the  point  of  view  of  national  development,  represents 
a  bright  page  in  English  history. 

One  of  the  earlier  English  historians  thus  describes 
the  queen,  incidentally  mentioning  the  nine  crosses  that 
were  erected  to  her  memory:  “To  our  nation  she  was 
a  loving  mother,  the  column  and  pillar  of  the  whole 
realm;  therefore  to  her  glory,  the  king  her  husband 
caused  all  those  famous  trophies  to  be  erected,  wherein 
her  noble  corse  did  rest;  for  he  loved  her  above  all 
earthly  creatures.  She  was  a  godly,  modest,  and 
merciful  princess;  the  English  nation  in  her  time  was 
not  harassed  by  foreigners,  nor  the  country  people  by 
the  purveyors  of  the  crown.  The  sorrow-stricken  she 
consoled  as  became  her  dignity,  and  she  made  them 
friends  who  were  at  discord.”* 


*Of  the  crosses  one  was  set  up  where  the  Charing  Cross  Railway- 
Station  now  stands,  near  Trafalgar  Square  in  London  (Chere  Reine-j-). 
The  official  and  court  language  of  England  was  French  up  to  the  time 
of  Edward  III.  when  the  great  English  victories  over  the  French  made 
the  English  language  popular,  even  among  the  descendants  of  the  old 
Norman  nobility,  and  by  act  of  Parliament  all  pleadings  in  the  law 
courts  were  from  that  time  on  conducted  in  English.  The  poetry  of 
Chaucer  and  the  appearance  of  Wycliffe’s  translation  of  the  bible  had 
also  doubtless  much  to  do  with  popularizing  the  change  among  the 
upper  class',  for  both  were  widely  read  by  them,  and  our  language  then 
began  to  assume  the  literary  form  it  has  since  retained. 


THE  ROYAL  EFFIGIES. 


51 


Queen  Eleanor  died  in  1290,  and  the  full-length  effigy 
in  gilt  bronze,  of  which  this  is  in  part  a  plaster  copy, 
was  made  in  London  by  William  Torel,  an  English¬ 
man,  in  1291,  and  is  a  recumbent  figure  upon  her 
tomb  in  the  chapel  of  Edward  the  Confessor  in  West¬ 
minster  Abbey.  Near  her  lies  her  husband,  whose  tomb 
is  without  an  effigy.  Their  son,  Edward  II.,  succeeded 
to  the  throne  at  the  age  of  twenty-three,  upon  the  death 
of  his  father  in  1307.  After  a  miserable  reign  he  was 
deposed  and  murdered,  and  was  succeeded  by  his  son, 
Edward  III. 

“If  you  ever  come  near  Gloucester,  and  see  the 
centre  tower  of  its  beautiful  cathedral,  with  its  four 
rich  pinnacles  rising  lightly  in  the  air,  you  may  re¬ 
member  that  the  wretched  Edward  II.  lies  buried  in  the 
old  Abbey  of  that  ancient  city,  at  forty-three  years  old, 
after  being  for  nineteen  and  a  half  years  a  perfectly 
incapable  king.” 


EDWARD  III. 

(1312-1377.) 

Edward  III  was  born  at  Windsor  and  ascended  the 
throne  at  the  age  of  fourteen  upon  the  deposition  of  his 
father,  Edward  II,  in  1327. 

At  the  age  of  sixteen  he  married  Philippa,  daughter 


52 


THE  ROYAL  EFFIGIES. 


of  the  count  of  Hainault,  reputed  to  be  the  hand¬ 
somest  young  woman  of  her  time,  and  their  eldest  son 
was  the  celebrated  Edward,  “The  Black  Prince.” 

During  the  reign  of  Edward  III  occurred  the  battles 
of  Crecy  (1346)  and  Poitiers  (1356),  in  both  of  which 
the  English,  led  by  the  Black  Prince,  with  forces 
greatly  inferior  in  number  to  the  French,  inflicted  upon 
the  latter  disastrous  defeats.  To  this  day,  among  the 
French,  Crecy  and  Poitiers  and  the  later  Agincourt 
(1415)  have  left  their  sting. 

Regarded  from  the  point  of  view  of  military  success 
in  her  many  wars  with  France,  the  reign  of  Edward 
III  marks  the  culmination  of  England’s  glory,  rivalled 
only  by  that  of  Henry  Y. 

In  domestic  affairs  occurred  many  events  which  mark 
this  period  as  one  of  the  sad  reigns  in  English  history, 
so  far  as  the  condition  of  the  people  was  concerned.  In 
1348  appeared  the  terrible  scourge  known  as  the  “Black 
Death.”  Beginning  in  China,  this  extraordinary  pes¬ 
tilence  devastated  Europe  from  the  shores  of  the 
Mediterranean  to  the  Baltic,  and,  swooping  down  upon 
England  like  a  cyclone,  is  conjectured  to  have  dimin¬ 
ished  the  population  by  one-half,  so  that  between  1350 
and  1370  there  were  probably  not  more  than  a  couple 
of  millions  of  people  in  all  England.  The  destruction 
of  so  large  a  proportion  of  the  laboring  class  produced 
the  greatest  misery  and  confusion,  and  attempts  to 
remedy  the  attendant  evils  by  legislation  fixing  the 
price  of  labor  seemed  only  to  add  to  the  difficulties  of 


EDWARD  III. 
(1312-1377.) 
Page  51. 


THE  ROYAL  EFFIGIES. 


53 


the  situation,  thus  laying  the  foundation  for  the 
Peasants’  Revolt  of  the  following  reign,  one  of  the 
great  historic  conflicts  between  capital  and  labor. 

In  capacity  for  government,  Edward  ranks  as  one  of 
the  few  great  kings  of  England.  As  a  financier,  both  in 
public  and  private  affairs,  he  was  tricky  and  dishonest, 
repudiating  without  scruple  his  obligations  to  parlia¬ 
ment,  when  money  had  been  granted  on  certain  condi¬ 
tions,  and  by  coolly  refusing  to  pay  his  just  debts  was 
known  to  have  forced  into  bankruptcy  many  of  the  do¬ 
mestic  and  foreign  bankers  who  had  loaned  him  money. 
In  his  diplomatic  negotiations  with  foreign  princes,  this 
underlying  falseness  of  character  was  also  conspicuous. 
But  as  a  successful  commander  in  the  field,  and  a  dom¬ 
inating  spirit  in  the  conduct  of  affairs  of  State,  he 
made  himself  respected  by  the  turbulent  baronage, 
ever  ready  to  take  advantage  of  any  evidence  of  weak¬ 
ness  on  the  part  of  their  sovereign.  In  manners  he  was 
affable  and  obliging,  knowing  how  to  make  himself 
agreeable  to  all  ranks  of  society,  and  equally  at  home 
at  a  merchants’  dinner  in  London  or  at  a  knightly 
tournament  surrounded  by  the  glitter  of  the  court, 
of  which  he  was  very  fond.  In  disposition  he  had  a 
certain  superficial  generosity,  though  at  times  liable  to 
be  swayed  by  the  violence  of  his  passions,  as  shown  in 
his  intended  treatment  of  the  six  burghers  of  Calais, 
who  were  saved  from  an  ignominious  and  unmerited 
death  only  through  the  interposition  of  his  queen. 
Following  and  preceding  the  feeble  reigns  of  his  father 


54 


THE  ROYAL  EFFIGIES. 


and  grandson  respectively,  tlie  English  are  justly  proud 
of  this  period  in  their  history,  so  far  as  the  accomplish¬ 
ment  of  results  was  concerned  effected  through  the 
talents  and  ability  of  their  sovereign.  The  life  of  the 
court  was  one  of  lavish  display  and  magnificence,  so 
far  as  the  condition  of  the  country  permitted,  and 
though  the  real  spirit  of  chivalry  was  dead,  a  brave 
attempt  was  made  to  keep  up  appearances. 

The  later  years  of  Edward  III  were  clouded  by  mis¬ 
fortune.  His  mental  faculties  partly  gave  way  and 
the  feeble  old  man  was  but  a  wreck  of  his  former  self, 
falling  entirely  under  the  influence  of  Alice  Perrers, 
a  handsome  and  spirited  woman,  clever  enough  to 
require  the  intervention  of  parliament  to  put  a  stop  to 
her  intriguing  activity  in  the  affairs  of  the  court  and 
government.  Edward’s  incapacity  at  this  period  of  his 
life  had,  however,  its  bright  side,  for  the  disorders  of 
the  kingdom  were  such  that  parliament  came  more 
and  more  to  the  front,  so  that  substantial  progress 
was  made  in  the  direction  of  constitutional  government. 

The  appearance  of  John  Wycliffe  and  Geoffrey 
Chaucer,  whose  services  in  their  respective  spheres  are 
touched  upon  in  the  account  of  the  following  reign, 
were  events  of  the  greatest  importance.  In  this  reign, 
also,  appeared  William  Longland,  familiarly  known  as 
“Long  Will,”  the  sad  poet  of  the  people,  voicing  their 
sorrows  and  sense  of  degradation  in  his  quaint  and  dolor¬ 
ous  poem  of  “Piers  the  Ploughman,”  the  very  counter- 


EDWARD, 

“The  Black  Prince.’' 
(1330-137G.) 

I’age  55. 


THE  ROYAL  EFFIGIES. 


55 


part  of  the  “Canterbury  Tales”  of  the  courtly 
Chaucer.  An  interesting  figure  also  is  John  Ball, 
“the  mad  priest  of  Kent,”  as  Froissart  calls  him,  who 
for  twenty  years  preached  the  natural  equality  of  man, 
and  by  his  homely  eloquence  stirred  among  the  people 
an  intense  longing  for  a  betterment  of  their  social  con¬ 
dition. 

Of  the  minor  events  of  this  period  the  building  of 
Windsor  Castle  is  one  of  the  most  interesting,  together 
with  the  establishment  of  the  knightly  Order  of  the 
Garter,  membership  in  which,  down  to  our  own  day,  is 
the  most  coveted  distinction  in  English  social  and 
political  life.  At  this  time  also  the  English  language 
was  substituted  for  the  French  in  all  legal  proceed¬ 
ings. 

Edward  III  died  in  1377,  and  was  quietly  succeeded 
by  his  grandson,  Richard  II. 


The  full  length  effigy,  of  which  this  is  in  part  a  plas¬ 
ter  copy,  is  a  recumbent  figure,  in  bronze,  upon  his 
tomb  in  the  chapel  of  Edward  the  Confessor  in  West¬ 
minster  Abbey.  It  was  apparently  taken  from  a  death 
mask,  as  indicated  by  the  closed  eyes  and  the  appear¬ 
ance  of  the  beard. 

EDWARD  “  THE  BLACK  PRINCE.” 

(1330-1376.) 

This  heroic  figure  in  English  history  was  the  eldest 
son  of  Edward  III  and  Philippa  of  Hainault.  At  the 


56 


THE  ROYAL  EFFIGIES. 


age  of  thirty-one  he  married  his  cousin  Joan,  common¬ 
ly  known  as  “The  Fair  Maid  of  Kent,”  though  at  the 
time  of  her  marriage  she  had  already  been  twice  a  widow. 
Their  only  son  was  the  ill-fated  Richard  II,  and  with 
his  death  in  1400  this  branch  of  the  royal  family  disap¬ 
pears  from  history.  As  the  great  warrior  of  his  time 
and  the  vanquisher  of  the  French  in  the  battles  of 
Crecy  (1346)  and  Poitiers  (1356)  the  “Black  Prince” 
has  left  a  name  and  fame  rivalled  among  English 
princes  only  by  that  of  Henry  V,  whom  in  many  respects 
he  much  resembled.  With  the  exception  of  certain  meas¬ 
ures  of  excessive  harshness  committed  in  the  heat  of 
war,  he  displayed  throughout  his  brilliant  career  great 
self-command  and  moderation  in  the  hour  of  victory. 

His  personal  courage  and  genius  as  a  commander,  in 
an  age  of  ever-recurring  war,  made  him  the  most  con¬ 
spicuous  leader  of  his  time,  and  his  brilliant  victories 
over  the  great  armies  of  France  with  his  little  bands  of 
English  archers  brought  him  a  renown  that  in  no  way 
fades  with  time.  In  disposition  he  was  generous  and 
magnanimous,  in  manners  affable  and  pleasing,  and  he 
is  still  revered  as  the  great  Englishman  of  those 
troubled  times.  He  died  in  1376,  a  year  before  his 
father  and  so  never  came  to  the  throne. 

With  the  weakening  of  his  father’s  faculties  toward 
the  close  of  the  king’s  life,  the  intelligence  and  char¬ 
acter  of  the  “Black  Prince,”  though  himself  a  con¬ 
firmed  invalid,  were  of  the  greatest  importance  in  shap¬ 
ing  the  policy  of  the  government  in  the  public  interest. 


RICHARD  II. 
(1366-1400.) 
Tage  57. 


THE  ROYAL.  EFFIGIES. 


57 


The  original  full  length  effigy  in  alabaster,  of  which 
this  in  part  is  an  electrotype  copy,  is  a  recumbent 
figure  upon  his  tomb  in  Canterbury  cathedral.  An 
ancient  coat  of  mail,  a  helmet,  and  a  pair  of  gauntlets  he 
is  supposed  to  have  worn,  are  suspended  above  the 
tomb. 


RICHARD  II. 

(1366-1400.) 

Richard  II  was  the  son  of  Edward,  the  “Black 
Prince”  and  Joan  of  Kent,  and  ascended  the  throne 
in  1377,  at  the  age  of  eleven,  upon  the  death  of 
his  grandfather,  Edward  III.  At  the  age  of  sixteen  he 
married  Anne  of  Bohemia,  of  the  same  age  as  himself, 
daughter  of  Charles  IV,  Emperor  of  Germany,  a  very 
amiable  and  pious  young  woman,  greatly  esteemed  by 
the  people,  among  whom  she  was  known  as  the  “good 
queen  Anne.”  She  died  in  1394  at  the  age  of  twenty- 
eight.  A  year  or  two  later  Richard  married  the  little 
Isabel,  daughter  of  Charles  VI  of  Prance,  only  eight 
years  old  at  the  time  of  her  marriage,  the  king  being 
about  thirty.  Isabel  was  the  older  sister  of  Catharine, 
who  afterward  married  Henry  V  of  England. 

At  the  time  of  Richard’s  accession  the  most  powerful 
and  influential  men  in  the  kingdom  were  his  three 
uncles,  the  dukes  of  Lancaster  (John  of  Gaunt),  York, 
and  Gloucester,  younger  brothers  of  the  “Black  Prince,” 
and  they  managed  for  a  time  to  get  along  reasonably 


THE  ROYAL  EFFIGIES. 


well  together  in  the  conduct  of  the  government  during 
the  king’s  minority.  But  in  that  rude  age  the  power 
and  turbulence  of  the  feudal  nobility  were  pretty  cer¬ 
tain  to  create  trouble,  unless  restrained  by  a  strong 
hand,  and  Richard  from  his  youth,  inexperience,  and 
character  was  entirely  incapable  of  the  task  imposed 
upon  him  by  his  position.  The  record  of  this  reign  is, 
therefore,  largely  made  up  of  turmoil  and  civil  com¬ 
motion. 

In  1381  occurred  the  so-called  Peasants’  Revolt,  the 
foundation  for  which  had  been  laid  in  the  previous 
reign,  headed  by  Wat  Tyler,  Jack  Straw  and  other 
desperate  leaders  determined  at  the  risk  of  their  lives 
to  better  the  condition  of  the  laboring  class. 

The  rapacity  and  oppression  of  the  nobility  had  re¬ 
duced  the  people  to  a  state  of  poverty  and  wretched¬ 
ness,  and  unable  longer  to  endure  their  miserable  con¬ 
dition  they  rose  in  rebellion.  A  hundred  thousand  of 
them  collected  at  Blacklieath  and  demanded  reforms, 
showing  a  particular  animosity  against  lawyers  and 
attorneys,  and  they  proceeded  to  cut  off  the  heads  of 
such  members  of  this  learned  profession  and  others  of 
their  well-to-do  fellow  subjects  as  they  could  lay  their 
hands  on.  During  a  lull  in  these  proceedings,  Richard, 
happening  to  pass  through  Smithfield,  very  slenderly 
guarded,  unexpectedly  met  Tyler  at  the  head  of  a  band 
of  rioters,  and  invited  him  to  confer  in  regard  to 
the  trouble.  The  latter  accepted  the  invitation, 
and  directing  his  companions  to  remain  some 


THE  ROYAL  EFFIGIES. 


59 


distance  behind,  rode  into  the  midst  of  the  king’s 
retinue,  leaving  word  with  his  friends,  however, 
that  at  a  given  signal  they  were  to  follow  him, 
and  murder  the  whole  company,  except  the  king,  who 
was  to  be  taken  prisoner.  During  the  conference  Tyler 
seems  to  have  borne  himself  with  great  rudeness  toward 
the  king,  for  one  Walworth,  mayor  of  London,  in¬ 
censed  at  his  conduct,  suddenly  struck  him,  and  he  was 
killed  on  the  spot  by  the  king’s  men,  before  the  eyes 
of  his  companions.  At  once  appreciating  the  danger  of 
the  situation  for  himself  and  his  followers,  young  Rich¬ 
ard,  being  only  sixteen  years  of  age,  of  his  own  motion, 
rode  forward  at  once  alone  into  the  midst  of  the  angry 
mob  and  with  entire  self-possession  and  in  a  conciliatory 
manner  asked:  “What  is  the  meaning  of  all  this  dis¬ 
order,  my  good  people?  Are  ye  angry  that  ye  have 
lost  your  leader?  I  am  your  king;  I  will  be  your 
leader.”  The  courage  and  resolution  of  the  handsome 
boy,  the  son  of  their  heroic  prince,  whose  memory  was 
still  green  in  the  hearts  of  all  classes  of  Englishmen, 
had  the  most  extraordinary  effect.  They  followed  him 
into  the  fields  outside  the  city,  where  promises  were 
made  and  charters  given  them  in  fulfilment  of  their  de¬ 
mands.  Needless  to  add  the  charters  and  promises 
ultimately  proved  but  delusions,  for  the  social  evils  of 
that  period  were  too  deeply  rooted  to  be  cured  off¬ 
hand. 

After  this  episode  it  seemed  as  though  England  were 
to  be  again  ruled  with  a  firm  hand,  but  such  was  not  to 


60 


THE  ROYAL  EFFIGIES. 


be.  As  Richard  grew  up,  the  weak  side  of  his  charac¬ 
ter  began  to  develop,  for  he  seems  to  have  been  a  curi¬ 
ous  combination  of  indolence  and  irresolution  on  the 
one  hand,  set  off  at  times  with  an  unexpected  energy, 
strength,  and  courage.  Surrounded  during  his  youth 
by  a  set  of  grasping  politicians,  led  on  different  sides 
by  his  intriguing  uncles,  his  education  in  essentials 
had  been  greatly  neglected,  and  he  grew  up  a  very  un¬ 
balanced  young  man,  with  a  violent  temper,  lacking  in 
judgment  and  stability,  lavish  in  expense,  and  fond  of 
show.  His  manner  of  living  indicated  his  character.  His 
household  is  reputed  to  have  consisted  of  ten  thousand 
persons,  with  three  hundred  employed  in  the  kitchen 
alone.  To  keep  up  such  an  establishment  entailed,  of 
course,  an  enormous  expense,  and  the  burden  of  enter¬ 
taining  this  standing  army  of  luxurious  idlers  could 
ultimately  fall  only  upon  the  people  themselves. 
Hence,  doubtless,  with  other  causes,  arose  Wat  Tyler’s 
rebellion,  and  the  numerous  public  discontents  that 
were  a  feature  of  this  unfortunate  reign. 

Of  the  dramatic  events  in  the  life  of  the  court  the 
most  interesting  was  the  quarrel  between  the  duke  of 
Norfolk  and  the  duke  of  Hereford  (afterward  duke  of 
Lancaster,  and  later  Henry  IV).  It  was  an  affair  of 
honor  between  the  two  noblemen — the  words  “liar” 
and  “traitor”  having  passed  between  them — and  they 
arranged  to  settle  their  differences  by  a  personal  en¬ 
counter  according  to  the  laws  of  the  then  waning  chiv¬ 
alry.  The  affair  was  to  come  off  at  Coventry  in  the 


THE  ROYAL  EFFIGIES. 


61 


presence  of  the  king  and  a  parliamentary  committee 
appointed  for  the  purpose,  together  with  all  the 
nobility  and  gentry  of  England  who  could  manage 
to  attend,  and,  as  attendance  at  the  event  was  also 
open  to  all,  we  may  be  sure  there  was  no  lack 
of  spectators.  In  fact  all  England  was  on  the 
tiptoe  of  expectation.  Just  as  the  duel  was  about  to 
begin,  the  king,  by  the  advice  of  the  parliamentary 
committee  and  doubtless  much  to  the  chagrin  and  dis¬ 
appointment  of  the  assembled  crowd,  intervened  and 
decreed  exile  for  both  the  dukes,  Norfolk  for  life  and 
Hereford  for  ten  yeaj*s,  afterwards  reduced  to  six  in 
consideration  of  Henry’s  behavior.  This  scene  is  finely 
treated  in  Shakespeare’s  play  of  Richard  II. 

During  Hereford’s  enforced  absence,  his  father,  John 
of  Gaunt,  died,  and  in  violation  of  a  promise,  the  king 
declared  the  duke’s  vast  estates  forfeited  to  the  crown. 
Angered  by  this  breach  of  faith,  Hereford,  now  Henry, 
duke  of  Lancaster,  sailed  for  England  to  lay  claim  to 
his  inheritance.  Landing  at  Ravenspur,  in  Yorkshire, 
he  was  agreeably  surprised  to  find  himself  the  most 
popular  man  in  England,  and  began  secretly  to  enter¬ 
tain  the  hope  of  deposing  his  cousin  the  king,  and 
placing  himself  upon  the  throne.  Richard,  not  appre¬ 
ciating  the  danger  of  his  position,  had  indiscreetly 
gone  to  Ireland  to  avenge  the  death  of  another  cousin, 
the  earl  of  March,  grandson  of  Lionel,  duke  of  Clar¬ 
ence,  and  heir  to  the  throne;  and  Henry’s  cause  gained 
such  headway  during  the  king’s  absence  that  upon  his 


62 


THE  ROYAL  EFFIGIES. 


hasty  return,  all  hope  of  regaining  his  authority  had 
to  he  given  up.  Being  taken  prisoner  Richard  was 
brought  to  London,  and  having  resigned  his  title  to  the 
crown  in  favor  of  Henry,  the  latter,  as  Henry  IV, 
ascended  the  throne  peaceably,  with  the  approval  both 
of  parliament  and  the  people  at  large,  for  Richard’s 
conduct  of  the  government  had  alienated  from  him  all 
classes  of  his  subjects.* 

*The  manner  in  which  Richard  II  was  deposed  and  Henry  IV 
ascended  the  throne,  has  in  it  so  much  of  the  element  of  drama,  and  is 
so  indicative  of  the  character  of  the  times,  that  the  following  short 
account  cannot  fail  to  be  read  with  interest. 

Parliament  being  assembled  with  all  the  turbulent  feudal  barons  in 
their  places,  as  well  as  the  upper  clergy  and  members  of  the  House  of 
Commons,  thirty-three  articles  of  impeachment,  recounting  the  various 
crimes  and  derelictions  of  Richard,  were  read.  Of  all  the  assembled 
notables  one  man  alone  stood  up  to  defend  the  king.  In  a  noble  and 
forceful  speech  the  Bishop  of  Carlisle  pointed  out  the  dangers  incident 
to  the  deposition  of  their  lawful  sovereign.  No  sooner  had  he  finished 
than  he  was  at  once  arrested,  by  order  of  Henry,  and  committed  to 
prison.  The  articles  were  then  passed  unanimously  and  the  throne 
declared  vacant,  whereupon  Henry  stepped  forth  and,  with  his  hand 
upon  the  throne,  crossed  himself  upon  the  forehead  and  breast,  and 
calling  upon  the  name  of  Christ,  pronounced  the  following  words  which 
are  here  given  in  the  exact  language  used  by  the  duke,  being  an  inter¬ 
esting  specimen  of  our  language  as  written  about  the  time  of  the  death 
of  Chaucer: 

In  the  name  of  Fadher,  Son  and  Holy  Ghost,  I  Henry  of  Lancaster, 
challenge  this  rewme  of  Ynglande,  and  the  crown,  with  all  the  membres 
and  appurtenances ;  als  that  I  am  descendit  by  right  line  of  the  blode, 
coming  fro  the  gude  King  Henry  therde  and  throge  that  right  that  God 
of  his  grace  hath  sent  me,  with  help  of  Tcyn,  and  of  my  frendes  to 
recover  it;  the  which  rewme  was  in  poynt  to  be  ondone  by  defaut  of 
governance,  and  ondoying  of  the  gude  laws. 

The  above  suggestion  of  hereditary  title  was  founded  on  an  idle  tale, 
believed  by  no  intelligent  Englishman,  that  the  eldest  son  of  Henry  III 
was  Edmond,  earl  of  Lancaster,  surnamed  Crouchback,  and  not  Edward 
I.  Henry  IV,  through  the  female  line,  was  descended  from  Edmond  and 


THE  ROYAL  EFFIGIES. 


63 


Regarded  from  tlie  point  of  view  of  constitutional 
development  tliis  reign  is  an  important  one  in  English 
history.  The  authority  of  parliament  was  greatly  in¬ 
creased  and  the  deposition  of  a  lawful  king,  for  unlaw¬ 
ful  acts,  followed  by  the  seating  of  another  upon  the 
throne,  is  in  some  respects  analogous  to  a  similar  exer¬ 
cise  of  power  at  the  time  of  the  revolution  of  1688,  when 
James  II  was,  by  act  of  parliament,  replaced  by 
William  III. 

This  period  is,  moreover,  made  illustrious  by  the 
fame  of  two  men,  whose  best  work  was  done  during 
Richard’s  reign.  In  the  religious  world  appeared  John 
Wycliffe,  the  great  reformer,  whose  translation  of  the 
Bible  laid  the  foundation  for  modern  English  prose,  and 
Geoffrey  Chaucer,  whose  “Canterbury  Tales”  entitle 
him  to  rank  as  the  father  of  modern  English  poetry. 

Directly  or  indirectly  through  queen  Anne,  herself  a 
friend  and  supporter  of  Wycliffe,  and  a  devout  reader  of 
his  bible,  the  latter’s  writings  became  known  in  Bohemia 
and  John  Huss,  the  son  of  a  peasant,  stirred  by  the 
English  preacher,  appeared  as  the  forerunner  of  the 
reformation  in  Germany.  In  England  Wycliffe ’s  writ¬ 
ings  had  a  far-reaching  influence  among  all  classes  of 
the  people. 


had  the  tale  been  true  would  have  been  rightful  heir  to  the  throne. 
The  circumstances  were  then  such,  however,  that  no  one  thought  fit  to 
question  Henry’s  challenge  to  the  crown,  and  the  superior  claim  of  the 
young  earl  of  March  being  passed  over  in  silence,  the  duke  of  Lancaster 
seated  himself  upon  the  vacant  throne  and,  amid  the  acclamations  of 
the  assembled  parliament,  assumed  the  title  of  Henry  IV. 


64 


THE  ROYAL  EFFIGIES. 


Richard’s  end  was  a  very  sad  one.  By  act  of  par¬ 
liament  he  was  ordered  to  be  confined  in  strict  seclusion 
at  Pontefract  Castle,  and  a  few  months  after  his  deposi¬ 
tion,  at  the  age  of  thirty-four,  was  there  murdered. 
Some  say  he  was  hacked  to  death  by  his  guards.  Others 
that  he  was  starved  to  death.  The  truth  can  never  be 
known.  He  left  no  posterity. 

He  was  originally  buried  at  Langley,  but  in  after 
years  Henry  V  gave  him  a  royal  resting  place  in  West¬ 
minster  Abbey,  in  the  chapel  of  Edward  the  Confessor, 
where  his  body  now  lies. 


The  original  metal  gilt  full  length  effigy,  of  which 
this,  in  part,  is  a  plaster  copy,  lies  recumbent  upon  his 
tomb  by  the  side  of  that  of  his  first  wife,  Anne  of 
Bohemia.  As  the  work  was  done  during  the  life  of 
the  king,  about  four  years  before  his  death,  there  is 
every  reason  to  believe  that  the  effigy  is  a  good  like¬ 
ness,  particularly  as  it  accords’  with  his  portrait, 
painter  unknown,  now  in  the  possession  of  the  Na¬ 
tional  Portrait  Gallery  at  London. 


HENRY  IY. 

(1366-1413.) 

Henry  IV.,  called  of  Bolingbroke,  the  first  of 
the  Lancastrian  kings,  was  the  son  of  John 
of  Gaunt  (fourth  son  of  Edward  III)  and  Blanche, 


HENRY  IV. 
(1366-1413.) 
Tage  64. 


THE  ROYAL  EFFIGIES. 


65 


daughter  of  Henry,  duke  of  Lancaster.  Although 
Henry  had  no  hereditary  title  to  the  throne, 
the  people  at  large  quietly  acquiesced  in  his 
accession  as  the  most  practical  way  of  replacing  Rich¬ 
ard  II,  and  the  character  and  abilities  of  Henry  en¬ 
abled  him  to  sustain  his  position. 

The  active  part  played  by  the  parliament  which  as¬ 
sembled  in  1399  to  take  into  account  the  disordered 
state  of  the  kingdom,  the  result  of  Richard’s  inability 
to  govern,  gave  to  that  body  a  dignity  and  importance 
not  previously  attained  by  it  in  English  history. 

Henry  IV,  though  claiming  the  throne  by 
right  of  descent  from  Henry  III,  and  also  by 
right  of  conquest,  was  in  reality  fully  alive  to  the 
weakness  of  those  claims,  and  practically  recognized 
that  the  real  strength  of  his  title  was  founded  on  the 
consent  of  the  people  represented  in  parliament,  though 
that  body  was  at  that  time  far  from  being  the  popular 
assembly  it  has  since  become.  During  the  reign  of 
Henry  IV,  England,  for  the  above  and  other  reasons, 
was  more  of  a  constitutional  monarchy  than  she  had 
ever  been  before,  or  was  destined  to  be  again,  for  many 
generations  after  his  death. 

Henry  was  a  resolute  monarch,  uniting,  with  his  reso¬ 
lution,  craft  and  caution,  qualities  pre-eminently  requi¬ 
site,  considering  the  times  in  which  he  lived,  and  the 
circumstances  under  which  he  acquired  the  crown,  to 
maintain  him  in  his  position.  He  died  in  1413  at  the 
age  of  forty-seven  after  a  reign  of  fourteen  years,  and 
was  succeeded  by  his  famous  son,  Henry  V. 


66 


THE  ROYAL  EFFIGIES. 


He  lies  buried  in  Canterbury  Cathedral,  where  his 
full-length  effigy  in  alabaster  (sculptor  unknown)  of 
which  this  is  in  part  a  plaster  copy,  lies  recumbent  upon 
his  tomb. 

For  the  dramatic  treatment  of  this  interesting  period 
of  English  history,  see  Shakespeare’s  Richard  II, 
Henry  IY,  and  Henry  V. 


MARGARET  BEAUFORT,  “THE  LADY 
MARGARET.” 

(1441-1509.) 

Margaret  Beaufort,  countess  of  Richmond  and 
Derby,  was  the  mother  of  Henry  VII,  and  through 
her  he  obtained  such  shadowy  hereditary  title  as  he 
had  to  the  English  throne.  She  was  the  great  grand¬ 
daughter  of  John  of  Gaunt,  duke  of  Lancaster  (fourth 
son  of  Edward  III),  the  father  of  Henry  IV.  Her 
father  was  John  Beaufort,  duke  of  Somerset,  son  of 
John,  earl  of  Somerset,  son  of  John  of  Gaunt  and 
Catharine  Swynford  (sister-in-law  of  the  poet  Chaucer). 
The  bar  sinister  was  however  a  blot  upon  the  escutcheon 
of  Margaret’s  grandfather,  the  earl  of  Somerset.  John 
of  Gaunt,  later  in  life,  married  Catharine,  and  at  his 
earnest  solicitation,  his  nephew,  Richard  II,  obtained 
the  passage  of  an  act  of  parliament,  sanctioned  by  the 
Pope,  legitimating  his  children.  The  effect  of  this  act, 
with  a  certain  amendment  thereto,  passed  in  the  reign 


MARGARET  BEAUFORT. 
"The  Lady  Margaret.” 
(1441-1509.) 

Tage  66. 


THE  ROYAL  EFFIGIES. 


67 


of  Henry  IV,  as  bearing  upon  tlie  succession  to  the 
crown,  was  much  disputed  by  the  lawyers  of  the  time 
when  the  question  became  a  vital  one  as  affecting  the 
claim  of  Henry  VII  to  represent  the  Lancastrian  faction 
in  its  struggle  for  the  possession  of  the  throne.  Al¬ 
though  there  were  other  descendants  of  John  of 
Gaunt  whose  title  was  genealogically  preferable  to 
that  of  Henry,  they  were  foreigners,  and  English¬ 
men  were  not  yet  prepared,  as  in  the  time  of  the 
Georges,  to  go  outside  of  England  for  a  king.  Thus  it 
happened  that  Henry,  being  the  only  available  candi¬ 
date,  was  finally  accepted,  and  upon  his  promise  to 
marry  Elizabeth  of  York,  in  the  event  of  his  accession, 
he  gained  also  many  valuable  adherents  from  the  follow¬ 
ers  of  the  fortunes  of  the  house  of  York,  though  the 
weak  points  in  his  genealogical  armor,  both  on  his 
father’s  and  mother’s  side,  were  savagely  attacked,  in 
very  blunt  English,  in  Richard’s  proclamation  calling 
upon  his  subjects  to  repel  the  invader.*  Margaret 

♦It  must  be  acknowledged  that  from  the  point  of  view  of  royal  descent 
Henry  VII  cuts  but  a  sorry  figure  in  the  presence  of  a  Plantagenet  king. 
Though  counting  among  his  progenitors  a  king  of  France  as  well  as  of 
England,  the  royal  strain  had  been  so  diluted  that  the  feudal  baronage 
could  not  but  regard  him  as  something  in  the  nature  of  an  upstart, 
forced  upon  them  by  political  conditions.  Consciousness  of  the  low 
estimation  in  which  his  pedigree  was  held  by  the  old  nobility  had  doubt¬ 
less  much  to  do  with  his  hatred  of  the  Yorkists,  and  presumably  also 
with  his  dislike  of  his  wife,  of  whose  position  as  rightful  heir  to  the 
crown  he  was  always  exceedingly  jealous.  When  securely  seated  upon 
the  throne  he  began  to  furbish  up  his  paternal  ancestry,  in  a  spirit  not 
unknown  to  the  modern  genealogist  in  humbler  walks  of  life,  and 
claimed  royal  descent  through  a  line  of  Welsh  princes  for  his  Tudor 
grandfather,  not  stopping  in  his  ambitious  flight  until  he  had  reached 
the  half  mythical  Arthur,  that  British  king  around  whom  cling  so  many 


68 


THE  ROYAL  EFFIGIES. 


Beaufort  married  Edmund  Tudor,  son  of  Owen  Tudor 
and  Catharine  of  Valois,  widow  of  Henry  V  of  Eng¬ 
land.  Owen  Tudor  was  a  handsome  Welshman,  of  ob¬ 
scure  origin,  and  had  fought  in  the  ranks  at  the  battle 
of  Agincourt.  Being  brought  to  the  attention  of 
Henry  V,  the  king  had  employed  him  about  the  court 
where  he  made  the  acquaintance  of  the  queen.  After 
Henry’s  death  Catharine  retired  to  private  life  and  very 
little  is  then  known  of  her.  Though  no  record  exists 
to  prove  the  fact,  she  is  supposed  to  have  been  secretly 
married  to  Owen  Tudor,  and  her  sons  were  treated  with 
consideration  by  their  half  brother,  Henry  VI,  for  it 
was  he  who  created  Edmund,  the  eldest,  earl  of  Rich¬ 
mond.!  Margaret  was  only  thirteen  when  she  was 
married  to  the  young  earl  and  was  left  a  widow  at  the  age 
of  about  fourteen,  a  couple  of  months  before  the  birth  of 
Henry.  Throughout  her  long  life  she  subordinated 
everything  to  advancing  the  interests  of  her  son,  who, 


legends  celebrated  in  the  story  and  song  of  the  elder  as  well  as  later 
times,  and  forming  such  a  conspicuous  feature  in  the  poetry  of  our  own 
day  in  the  flowing  verse  of  Tennyson.  To  accentuate  his  esteem  for  his 
alleged  though  unproved  royal  British  ancestry,  at  least  so  far  as  any 
records  show,  Henry’s  eldest  son  was  named  for  the  hero  of  the  Knights 
of  the  Round  Table,  and  it  was  Arthur  who  became  the  first  husband 
of  the  unfortunate  Catharine  of  Aragon.  This  mhrriage  entailed 
momentous  consequences  for  the  English  speaking  race,  for  it  was  the 
pretended  scruples  of  Henry  VIII  in  having  married  his  brother’s 
widow  that  led  to  the  divorce  of  Catharine,  so  fruitful  of  results  in 
separating  the  Church  of  England  from  the  Church  of  Rome. 

fFor  a  very  interesting  account  of  the  life  and  death  of  Owen  Tudor, 
including  an  inquiry  into  his  doubtful  antecedents,  with  references  to 
authors  and  documents  of  the  period,  see  Agnes  Strickland’s  “Katharine 
of  Valois”  in  her  “Lives  of  the  Queens  of  England.” 


THE  ROYAL  EFFIGIES. 


69 


from  his  childhood  till  he  ascended  the  throne,  was 
reared  in  an  atmosphere  of  hardship,  danger,  and  priva¬ 
tion,  and  disciplined  in  the  rough  school  of  adversity. 
As  he  himself  told  one  of  his  friends  he  had  always 
been,  from  the  age  of  five  till  his  accession,  either  a 
prisoner  or  a  fugitive.  It  was  during  these  weary  years 
of  captivity,  when  he  was  thrown  upon  his  own  re¬ 
sources  for  amusement,  that  he  acquired  the  habit  of 
reading,  which  gave  him  a  certain  reflective  tone  that 
distinguished  him  in  after  years. 

“The  Lady  Margaret”  was  the  most  notable  English¬ 
woman  of  her  time.  She  was  the  founder  of  St.  John’s 
College  and  of  Christ’s  College  at  Cambridge,  and 
established  professorships  of  divinity  both  at  Oxford 
and  Cambridge.  A  woman  of  strong,  as  well  as  ami¬ 
able  character,  there  existed  between  her  and  her 
youthful  grandson,  afterward  Henry  VIII,  a  genuine 
attachment,  and  when  Henry  came  to  the  throne  he 
relied  greatly  upon  her  experience  and  generally  recog¬ 
nized  sound  judgment  in  the  selection  of  his  ministers, 
thus  giving  the  people  an  excellent  impression  of  his 
own  good  sense. 

Margaret  Beaufort  was  three  times  married,  her 
third  husband  being  Lord  Stanley,  afterwards  earl  of 
Derby,  the  man  who  deserted  Richard  at  a  critical 
moment  in  the  battle  of  Bosworth  and  turned  the  day 
in  favor  of  his  step-son.  It  was  Stanley  who  picked  up 
Richard ’s  crown  on  the  battle  field,  and  placing  it  on 


70 


THE  ROYAXi  EFFIGIES. 


Henry’s  head,  led  in  the  acclaim  of  the  earl  as  Henry 
Vn,  King  of  England. 

Margaret  Beaufort  died  in  1509,  outliving  but  a  short 
time  her  own  royal  son. 


The  half-length  figure  here  shown  is  in  part  a  plaster 
copy  of  the  full  length  effigy,  in  bronze,  which  lies  re¬ 
cumbent  upon  her  tomb  in  the  chapel  of  Henry  Vn  in 
Westminster  Abbey. 

The  original  is  the  work  of  Pietro  Torregiano. 


HENRY  VII. 

(1456-1509.) 

Henry  VII  ascended  the  throne  in  the  year  1485 
at  the  age  of  twenty-nine.  His  paternal  grand¬ 
father  was  Owen  Tudor,  a  Welsh  clansman,  who 
married  Catharine,  daughter  of  Charles  VI  of  France, 
and  widow  of  Henry  V  of  England,  the  “Kate”  in 
Shakespeare’s  play  of  Henry  V.  The  son  of  this 
marriage,  Edmund  Tudor,  earl  of  Richmond,  married 
“The  Lady  Margaret,”  as  she  was  called,  a  great 
granddaughter  of  John  of  Gaunt,  duke  of  Lancaster, 
fourth  son  of  Edward  III.  The  house  of  York  was 
descended,  through  the  female  line,  from  Lionel, 
duke  of  Clarence,  third  son  of  Edward  III,  and 
the  disputes  between  these  two  branches  of  the  royal 
house  of  Plantagenet  unsettled  England,  off  and  on, 
for  over  a  hundred  years.  Owing  to  the  fact  that  the 


HENRY  VI 1. 
(1456-1500.) 
PaS?  TO. 


THE  ROYAL.  EFFIGIES. 


71 


first  and  second  sons  of  Edward  III  left  no  descendants, 
with  the  exception  of  the  deposed  Eichard  II,  there 
was  no  question  hut  that  the  legal  title  of  the  house  of 
York  was  superior  to  that  of  Lancaster,  but  in  those 
rude  times  the  age  and  character  of  the  claimant  were 
important  factors  in  determining  the  result  of  every 
contest. 

Henry  IV,  falsely  deducing  his  title  from  Henry  III, 
was  in  fact  an  usurper,  but  his  character  and  experi¬ 
ence  enabled  him  to  sustain  himself  upon  the  throne 
against  the  young  earl  of  March,  a  child  of  seven 
years,  great  grandson  of  Lionel,  and  the  rightful  heir. 
The  qualities  of  Henry’s  son,  the  famous  Henry  V,  en¬ 
abled  him  also  to  maintain  himself  upon  the  throne, 
the  very  idol  of  the  English  people,  and  transmit  the 
crown  without  question  to  his  infant  son.  The  feeble¬ 
ness  and  incapacity  of  Henry  VI,  the  third  Lancastrian 
king,  obliged  him  to  give  way  to  Edward  IV  of  the 
house  of  York.  * 

Upon  the  death  of  Edward  in  1483,  the  young  prince, 
his  son,  was  at  the  mercy  of  his  uncle  Eichard.  Under 
the  title  of  Edward  V,  this  pale  shadow  of  a  boy 
king,  lived  but  a  few  months  after  his  father’s  death, 
smothered  in  the  Tower,  with  his  brother,  by  order  of 
his  uncle. 

Eichard  III,  the  last  of  the  Plantagenets, 
then  usurped  the  crown,  but  his  method  of 
acquiring  it  so  incensed  the  people  that  the 

*For  this  period  of  English  history,  see  Bulwer’s  “Last  of  the  Barons.” 


72 


THE  ROYAL  EFFIGIES. 


Lancastrian  faction  again  came  to  the  front,  and 
rallying  around  Henry,  earl  of  Richmond,  defeated 
Richard  at  the  battle  of  Bosworth  in  1485  and  the 
crown  of  England,  worn  by  Richard  in  the  battle,  was 
placed  as  the  symbol  of  sovereignty  upon  the  young 
earl’s  head,  and  upon  the  battle  field  itself  he  was  ac¬ 
claimed  as  Henry  VII,  King  of  England,  the  first  of  the 
so-called  Tudor  Kings.  Shortly  after  coming  to  the 
throne  he  married  Elizabeth  of  York,  the  only  surviv¬ 
ing  child  of  Edward  IV,  and  by  this  marriage  were 
united  the  contending  factions  of  York  and  Lancaster, 
the  White  and  the  Red  rose.  England  then  settled 
down  to  a  state  of  comparative  domestic  tranquility 
not  to  be  again  seriously  disturbed  by  civil  war  for 
over  a  hundred  and  fifty  years.* 


*For  a  proper  understanding  of  the  history  of  England  from  the  de¬ 
position  of  Richard  II  in  1399  to  the  accession  of  Henry  VIII  in  1509, 
it  is  necessary  to  have  a  fairly  accurate  knowledge  of  the  genealogy  of 
the  different  branches  of  the  royal  family  from  the  time  of  Henry  III 
(died  1272,  the  sovereign  from  whom  Henry  IV  claimed  title  to  the 
crown),  to  that  of  Henry  VIII. 

Vague  and  indefinite  as  these  genealogical  intricacies  now  generally 
are  in  the  minds  of  all  but  close  students  of  that  period,  it  must  be 
remembered  that  for  more  than  a  hundred  years,  with  intervening  lulls, 
they  were  burning  and  vital  questions,  eagerly  discussed  in  all  their 
details  in  the  courts,  camps  and  parliaments,  as  well  as  at  the  fire¬ 
sides,  of  our  English  ancestors,  and  angry  disputes  were  liable  to  be 
followed,  and  in  fact  for  a  time  (1455-1485)  were  followed,  by  civil  war. 
Some  faint  idea  of  the  gravity  and  intensity  of  these  disputes  may  be 
realized  by  those  in  our  own  country  who  remember  the  excitement 
caused  by  the  Hayes-Tilden  controversy  over  the  Presidential  election  in 
1876,  when  the  Electoral  Commission  was  appointed.  Let  us  suppose 
that  commission  to  have  been  a  failure,  and  to  have  been  followed  by 
successive  appeals  to  arms  for  about  thirty  continuous  years,  the  theatre 


THE  ROYAL  EFFIGIES. 


73 


The  reign  of  Henry  VII  marks  an  epoch  in  English 
history,  and  is  generally  regarded  as  the  dividing  line 
between  the  feudal  period  and  the  foundation 
of  the  system  on  which  modern  society  is 
based.  In  this  reign  the  art  of  printing  was 
brought  to  a  state  of  comparative  perfection,  and  im¬ 
provements  in  the  use  of  firearms  revolutionized  the 
methods  of  war,  thus  giving  to  civilization  an  easy  vic¬ 
tory  over  the  barbarous  tribes  of  the  far  off  countries  of 
the  new  world,  then  for  the  first  time  brought  to  the 
knowledge  of  Europe,  and  this  discovery  of  America 
opened  up  also  a  new  and  ever-widening  field  for  the 
energies  of  the  adventurous  English  race.  In  fact,  it 
was  only  by  an  accident  that  Columbus  did  not  sail 
upon  his  first  voyage  under  the  English  flag.  His 
brother  Bartholomew  was  on  his  way  to  England  to 
engage  the  assistance  of  Henry  in  this  enterprise, 
already  brought  to  the  king’s  attention,  when  he  was 
taken  and  detained  by  pirates.  Meantime  Isabella  of 
Spain  furnished  the  necessary  aid.  Had  Henry  been 
the  first  in  the  field,  what  momentous  consequences 

of  war  being  about  the  size  of  the  state  of  Pennsylvania,  the  population 
being  about  three  millions^  with  hostile  neighbors  on  all  sides,  and  we 
may  have  some  idea  of  the  Wars  of  the  Roses.  Let  us  then  suppose  the 
invention  of  some  happy  political  device,  whereby  all  the  turmoil,  con¬ 
fusion  and  bloodshed  incident  to  civil  war  could  be  suddenly  avoided, 
and  we  may  be  able  to  realize  the  passionate  joy  of  the  English  people 
when  Henry  VII  married  Elizabeth  of  York,  and  the  union  was  blessed 
with  an  heir,  in  whose  veins  was  united  the  blood  of  York  and  Lan¬ 
caster,  and  who  was  recognized  by  all  parties  as  the  unquestioned  suc¬ 
cessor  by  hereditary  right  to  the  English  throne. 


74 


THE  BOYAL  EFFIGIES. 


would  not  have  followed  in  the  history  of  our  Western 
world. 

In  character  Henry  YII  was  parsimonious,  calculat¬ 
ing,  and  suspicious.  His  dominating  vice  was  avarice, 
and  by  means  of  many  harassing  and  illegal  exactions 
he  became  enormously  rich,  and  at  his  death  left  to  his 
son  a  private  fortune  estimated  at  nearly  ten  millions 
of  dollars,  an  incredible  sum  for  those  days.  Per¬ 
sonally  he  was  a  very  unamiable  and  unpopular  sover¬ 
eign,  but  did  great  service  in  settling  and  consolidating 
the  kingdom  which  had  been  for  so  many  years  dis¬ 
tracted  by  the  “Wars  of  the  Roses.” 

With  the  practical  side  of  his  character  necessarily 
developed  by  the  various  and  constantly  present  diffi¬ 
culties  of  his  position,  he  was,  nevertheless,  something 
of  a  bookish  man,  a  dreamer  of  dreams,  and  fond  of 
literature  and  art.  In  architecture  his  memory  will  be 
always  preserved  by  his  beautiful  chapel,  the  finest, 
perhaps  in  England,  which  he  added  during  his  life  to 
the  east  end  of  Westminster  Abbey. 

In  domestic  affairs  the  appearance  of  two  young  im¬ 
postors,  Lambert  Simnel  and  Perkin  Warbeck,  who,  at 
different  times,  laid  claim  to  the  crown  as  being  right¬ 
ful  heirs  of  the  house  of  York,  gave  rise  to  insurrec¬ 
tions  which  troubled,  but  at  no  time  seriously  threat¬ 
ened,  Henry’s  occupation  of  the  throne. 

The  enlargement  of  the  jurisdiction  of  the  so-called 
Star  Chamber,  a  tribunal  appointed  by  the  crown  and 
which  now  began  to  adjudge  secretly  a  variety  of  ques- 


ELISABETH  OF  YORK. 
(1466-1502.) 

Page  75. 


THE  ROYAL  EFFIGIES. 


75 


tions  involving  personal  liberty  and  property,  was  an 
event  of  the  greatest  importance  as  increasing  the 
arbitrary  power  of  the  king.  This  iniquitous  tribunal, 
entirely  at  variance  with  the  institutions  of  a  free  peo¬ 
ple,  was  ultimately  swept  out  of  existence  by  the  Long- 
Parliament  in  1641,  though  its  hateful  memory  has 
remained  as  a  warning  down  to  our  own  time. 

In  foreign  affairs  the  policy  and  astuteness  of  the 
king  enabled  him  to  make  his  influence  powerfully  felt 
on  the  Continent  without  entailing  any  serious  conse¬ 
quences  in  the  way  of  expensive  wars. 

Of  the  Tudor  sovereigns  Henry  VII  is  the  only 
direct  ancestor  of  queen  Victoria. 

He  died  in  1509  at  the  age  of  fifty-two  and  was  suc¬ 
ceeded  by  his  son  Henry  VIII. 


The  plaster  cast  here  shown  is  in  part  a  copy  of  his 
full  length  effigy,  in  bronze,  which  lies  recumbent  upon 
his  tomb,  by  the  side  of  that  of  his  wife,  in  his  own 
chapel  in  Westminster  Abbey.  The  sculptor  was 
Pietro  Torregiano. 


ELIZABETH  OF  YORK. 

(1466-1502.) 

Elizabeth  of  York  was  the  daughter  of  Edward  IV 
and  his  queen,  Elizabeth  Woodville.  When  she  had 


76 


THE  ROYAL  EFFIGIES. 


reached  the  age  of  seventeen  her  father  died,  and  her 
uncle  Richard,  by  the  murder  in  the  Tower  of  the  young 
princes,  her  brothers,  established  himself  on  the  throne 
under  the  title  of  Richard  III.  In  order  to  strengthen 
his  title  Richard  was  planning  to  marry  his  niece, 
when,  by  the  defeat  at  Bosworth,  he  lost  not  only  the 
crown,  but  also  his  life.  Upon  the  accession  of  Henry 
VII  the  people  clamored  for  Henry’s  marriage  with 
Elizabeth,  that  all  the  turmoil  and  bloodshed  of  the 
Wars  of  the  Roses  might  cease  with  this  alliance  of  the 
houses  of  York  and  Lancaster.  Henry,  however,  was 
unwilling  to  have  his  own  title  appear  to  depend  upon 
that  of  his  wife,  and  so  postponed  the  marriage  until 
he  felt  himself  entirely  secure  in  his  new  position. 
After  his  own  independent  coronation  he  married  Eliz¬ 
abeth  in  1586,  and  no  marriage  ever  brought  so  great 
satisfaction  to  a  whole  people  as  this.  The  queen  was 
an  amiable  woman,  and  always  maintained  a  firm  hold 
on  the  affections  of  the  people  at  large.  She  was  de¬ 
voted  to  the  king,  but  he,  on  his  part,  was  far  from  a 
considerate  husband.  He  hated  the  whole  York  family 
and  their  adherents,  and  such  troubles  as  arose  during 
his  reign  were  largely  due  to  his  own  unnecessary  rigor 
in  dealing  with  the  leaders  of  the  defeated  faction. 


The  full-length  effigy  of  Elizabeth,  in  bronze,  of  which 
this  in  part  is  a  plaster  copy,  lies  recumbent,  by  the 
side  of  that  of  her  husband,  upon  her  tomb  in  the 
chapel  of  Henry  VII  in  Westminster  Abbey. 


THE  ROYAL  EFFIGIES. 


77 


Tlie  sculptor  was  Pietro  Torregiano,  the  Florentine 
rival  of  Michael  Angelo,  and  to  whom  the  latter,  in  a 
boyish  quarrel,  was  indebted  for  his  broken  nose. 


HENRY  VII T. 

(1491-1547.) 

Henry  VIII  came  to  the  throne  upon  the  death 
of  his  father,  Henry  VII,  in  1509,  at  the  age  of 
eighteen,  being  the  first  king  since  Richard  II,  over 
a  hundred  years  before,  whose  title  was  without  a 
flaw. 

In  person  he  was  handsome,  athletic,  and  fond  of  out¬ 
door  sports,  in  which  he  excelled.  Of  an  exceptionally 
bright  and  active  mind  he  had  taken  kindly  to  the 
“new  learning,”  as  it  was  called,  and  was  altogether 
one  of  the  most  accomplished  men  of  his  time.  He  was 
skilled  in  music,  and  even  composed  some  pieces,  and 
spoke  French  and  Spanish  fluently,  with  an  excellent 
knowledge  of  Latin.  In  disposition  he  was  bright  and 
gay  and  full  of  life  and  spirit.  His  father,  by  a  com¬ 
bination  of  extortion  and  avarice,  had  amassed  a  vast 
fortune  of  which  Henry  was  sole  heir,  and  the  young 
king  proceeded  forthwith  to  spend  his  money  freely, 
inaugurating  and  carrying  out  on  a  magnificent  scale  a 
variety  of  court  entertainments,  ably  assisted  therein 


78 


THE  ROYAL  EFFIGIES. 


by  bis  bosom  friend  and  companion,  Thomas  Wolsey 
Dean  of  Lincoln.* 

For  the  first  twenty  years  of  his  reign,  Henry  was  one 
of  the  most  popular  of  English  kings,  and  notwith¬ 
standing  the  change  that  came  over  him,  seems  never 
to  have  entirely  lost  the  affection  of  his  subjects.  In 
later  life  the  impetuosity  and  ardor  of  his  youth, 
warped  by  the  practically  unrestrained  exercise  of 
arbitrary  power  and  the  unrestricted  pursuit  of 
pleasure,  developed  into  a  certain  sullenness  of  temper, 
arrogance,  and  cruelty  that  made  of  him  a  different 
man.  His  matrimonial  troubles  are  associated  with 
this  period  of  his  life  and  by  them,  in  popular 
estimation,  he  is  best  remembered.  He  was  six 
times  married.  His  first  wife  was  Catharine  of 
Aragon,  daughter  of  Ferdinand  and  Isabella  of  Spain, 
and  mother  of  queen  Mary.  From  her  he  was  divorced, 
after  nearly  twenty  years  of  married  life.  The  history 
of  this  divorce,  involving  many  complicated  ecclesiasti¬ 
cal  questions,  and  resulting,  with  other  causes,  in  the 
schism  of  the  English  Church  from  the  Church  of  Rome, 
makes  it  the  most  celebrated  divorce  case  on  record. 
His  second  wife  was  Anne  Boleyn,  an  English  lady  of 
private  station,  and  mother  of  queen  Elizabeth.  For 
her  alleged,  though  unproved  misconduct,  she  was  be¬ 
headed.  The  third  wife  was  Jane  Seymour,  mother  of 


*The  career  of  Cardinal  Wolsey  is  in  itself  so  interesting,  and  the 
period  of  his  official  life  is  so  bound  up  with  that  of  king  Henry,  that  a 
short  account  of  him  is  included  in  this  catalogue,  though,  at  present,  the 
collection  contains  nothing  recalling  his  personal  appearance. — S.  L.  P 


HENRY  VIII. 
(1491-1547.) 
Rage  77. 


THE  ROYAJL  EFFIGIES. 


79 


Edward  VI.  She  died  peaceably,  greatly  regretted  by 
the  king.  The  fourth  was  Anne  of  Cleves,  a  Flemish 
princess,  divorced  shortly  after  her  marriage,  her  crime 
being  general  nnattractiveness.  A  handsome  pension 
was  allowed  her  and  she  continued  to  live  quietly  in 
England,  on  excellent  terms  with  everyone,  the  king 
included. 

The  fifth  was  Catharine  Howard,  who,  after 
her  marriage  with  the  king,  was  proved  to  have  been 
such  a  very  undesirable  young  person  that  the  king 
concluded  to  have  her  executed.  The  sixth,  and  last, 
was  Catharine  Parr,  a  widow  of  mature  age,  who  man¬ 
aged  to  ingratiate  herself  sufficiently  with  the  king  to 
keep  her  head  on  her  shoulders,  and  outlive  her  royal 
husband. 

Aside  from  these  more  or  less  personal  complications, 
there  occurred  many  events  which  make  the  reign  of 
Henry  VIII  one  of  the  most  important  periods  in  Eng¬ 
lish  history.  The  most  far-reaching  in  its  effect  was 
undoubtedly  the  entire  separation  of  the  English 
Church  from  the  Church  of  Rome,  and  the  passage  of 
the  “Act  of  Supremacy”  whereby  Henry,  and  all  his 
successors  on  the  English  throne,  became  titular  head 
of  the  English  Church  with  no  ecclesiastical  authority 
acknowledged  outside  the  kingdom.  During  this  reign 
occurred  also  the  suppression  of  all  the  monasteries 
and  the  confiscation  of  their  revenues  by  the  crown. 
Some  of  the  richest  and  most  powerful  of  the  English 


80 


THE  ROYAL.  EFFIGIES. 


families  of  our  own  time  date  their  importance  from 
this  period,  when  grants  were  made  to  them  of  the 
escheated  property  of  the  church.  The  rise  and  fall  of 
Cardinal  Wolsey  is  also  a  dramatic  event  of  the 
greatest  interest. 

In  domestic  affairs,  the  Parliament  was  frequently 
assembled,  but,  as  a  popular  assembly,  it  had  sunk  to 
its  lowest  level  in  the  history  of  England,  from  the 
point  of  view  of  political  importance.  It  seemed  content 
to  regard  its  duty  as  fulfilled  when  it  had  registered  as 
laws  the  edicts  of  the  king. 

The  parliamentary  system,  practically  inaugurated 
under  Henry  VII,  and  continued  in  this  and  subsequent 
reigns,  entirely  at  variance  with  the  spirit  of  free¬ 
dom,  must  be  held  responsible  for  the  excesses  com¬ 
mitted  a  hundred  years  later,  which  ended  in  the  death 
of  Charles  I  upon  the  scaffold. 

In  foreign  affairs,  largely  through  the  commanding 
personality  of  Henry,  combined  with  the  European 
complications  resulting  from  the  rivalry  between  Fran¬ 
cis  I  of  France,  and  the  Emperor  Charles  V  of  Germany, 
England  played  a  more  conspicuous  part  than  at  any 
previous  time  in  her  history. 

In  the  last  years  of  his  life  Henry  became  enormously 
stout,  and  being  also  in  ill  health,  had  to  be  wheeled 
about  in  a  chair,  presenting  a  sad  contrast  both  in  ap¬ 
pearance  and  in  character  to  his  younger  days.  He 
died  in  1547  in  the  fifty-sixth  year  of  his  age. 


THE  ROYAL  EFFIGIES. 


81 


The  original  bronze  bust,  sculptor  unknown,  of  which 
this  is  a  plaster  copy,  is  in  a  private  collection  in 
London. 


Cardinal  Wolsey. 

(1471-1530.) 

Thomas  Wolsey  was  born  at  Ipswich  in  the  year 
1471.  His  father  is  popularly  supposed  to  have  been  a 
butcher,  but  on  this  point  there  is  some  doubt.  What¬ 
ever  his  origin,  he  received  an  excellent  education,  and 
at  the  age  of  fifteen  took  his  degree  at  Magdalen  College, 
Oxford.  He  then  studied  for  the  priesthood  and,  as  a 
young  man,  held  the  position  of  tutor  in  the  family  of 
an  English  nobleman.  Entering  the  church,  his  ex¬ 
traordinary  talents,  backed  by  such  influence  as  he  had 
acquired  by  his  own  merit,  gained  for  him  rapid  pro¬ 
motion.  When  Wolsey  was  first  introduced  to  Henry, 
about  the  year  1511,  the  future  cardinal  was  about 
forty  years  of  age,  in  the  very  prime  of  life,  a  finished 
man  of  the  world,  conscious  of  his  own  superiority  to 
the  men  around  the  king,  and  eager  to  obtain  an  oppor¬ 
tunity  for  the  display  of  his  abilities. 

The  young  king  was  about  twenty  years  old,  ardent 
and  impetuous,  and  delighted  with  his  new  position, 
for  an  austere  parent,  up  to  the  time  of  his  death,  had 
kept  the  royal  nose  of  his  youthful  offspring  pretty 
close  to  the  scholastic  grindstone.  Being  entirely 
ignorant  of  the  business  of  government,  young  Henry 


82 


THE  ROYAL  EFFIGIES. 


had,  therefore,  almost  of  necessity,  retained  as  his 
advisers  the  men  whom  he  had  inherited,  so  to  speak, 
from  his  father,  along  with  the  crown,  hut  who  were  in 
no  way  adapted  to  enter  into  the  gay  life  of  the  Court 
as  conducted  under  the  new  reign.  In  fact  they  were 
aghast  as  they  saw  the  lavish  son  engaged  in  dissipat¬ 
ing  the  vast  fortune  of  the  avaricious  father.  Wolsey 
at  once  took  in  the  situation  and  saw  that  the  easiest 
way  to  gain  the  confidence  of  the  king  was  to  enter 
with  spirit  into  all  the  gaieties  of  the  Court,  while  at 
the  same  time  keeping  a  close  eye  on  the  more  serious 
business  of  government. 

In  the  intimacy  incident  to  their  common  pursuit 
of  pleasure,  Wolsey  intimated  to  the  king  that  he 
could  never  hope  to  really  govern  so  long  as  he  kept 
about  him  as  advisers  the  politicians  who  had  risen  to 
power  during  his  father’s  reign.  Henry  took  kindly 
to  the  suggestion,  and  in  a  short  time  the  clever  church¬ 
man  found  that  he  himself,  as  he  had  planned,  was  the 
instrument  selected  to  bring  about  the  change.  His 
rise  was  rapid  and  within  a  year  or  two  from  his  first 
introduction  to  the  king,  Wolsey  became  practically 
the  real  ruler  of  England,  tactfully  concealing,  how¬ 
ever,  from  his  royal  master  the  ascendency  he  had  ac¬ 
quired.  By  skilful  manipulation  he  managed  to  get 
himself  appointed  to  a  variety  of  rich  livings  in  the 
church  (his  acquisitive  faculty  was  strongly  de¬ 
veloped),  and  thus  acquired  a  princely  revenue,  which 
enabled  him  to  indulge  his  inordinate  ambition  for 


THE  ROYAL  EFFIGIES. 


83 


display.  The  passion  for  building  also  seized  him,  and 
Hampton  Court,  the  palace  of  Whitehall,  in  London, 
and  Christ’s  College  at  Oxford  (originally  called  Car¬ 
dinal’s  College),  remain  as  monuments  to  his  memory. 
In  the  various  diplomatic  missions  to  the  Continent, 
required  by  Henry’s  foreign  policy,  the  cardinal,  as  he 
had  now  become,  was  generally  selected  as  ambassador, 
and  his  retinue  on  these  occasions  was  more  magnificent 
than  that  of  royalty  itself.  At  home  his  train  con¬ 
sisted  of  eight  hundred  servants  and  attendants,  taken 
from  all  ranks  of  society,  for  gentlemen,  knights  and 
the  younger  sons  of  the  nobility  were  eager  to  enter  the 
service  of  the  all-powerful  minister  of  state,  who  com¬ 
bined  with  his  love  of  political  power  an  ardent  interest 
in  the  art,  literature,  and  science  of  his  time.  Wolsey’s 
career  as  a  statesman  lasted  about  fifteen  years,  and 
his  fall  was  the  result  of  the  withdrawal  of  the  king’s 
favor,  based  upon  the  cardinal’s  lukewarmness  at  the 
time  Henry  sought  his  divorce  from  Catharine  of 
Aragon.  In  1530,  the  year  of  his  death,  he  was  arrested 
for  high  treason,  and  was  on  his  way  to  London 
to  be  tried,  when  overtaken  by  his  last  illness. 

He  expired  at  Leicester  Abbey  and  shortly  before  his 
death  expressed  himself  to  the  constable  of  the  Tower, 
in  whose  custody  he  was,  in  words  so  indicative  of  his 
own  character,  as  well  as  that  of  the  king,  that  they  are 
here  given  in  full:  “  I  pray  you,”  said  he,  “  have  me 
heartily  recommended  unto  his  royal  majesty,  and  be¬ 
seech  him,  on  my  behalf,  to  call  to  his  remembrance  all 


84 


THE  ROYAE  EFFIGIES. 


matters  that  have  passed  between  us  from  the  beginning, 
especially  with  regard  to  his  business  with  the  queen; 
and  then  will  he  know  in  his  conscience,  whether  I  have 
offended  him.  He  is  a  prince  of  a  most  royal  carriage, 
and  hath  a  princely  heart;  and  rather  than  he  will  miss 
or  want  any  part  of  his  will,  he  will  endanger  the  one- 
half  of  his  kingdom.  I  do  assure  you,  that  I  have  often 
kneeled  before  him,  sometimes  three  hours  together,  to 
persuade  him  from  his  will  and  appetite;  but  could  not 
prevail:  had  I  but  served  God  as  diligently  as  I  have 
served  the  King,  he  would  not  have  given  me  over  in 
my  grey  hairs.  But  this  is  the  just  reward  that  I  must 
receive  for  my  indulgent  pains  and  study,  not  regard¬ 
ing  my  service  to  God,  but  only  to  my  prince.  There¬ 
fore,  let  me  advise  you,  if  you  be  one  of  the  privy 
council,  as  by  your  wisdom  you  are  fit,  take  care  what 
you  put  into  the  king’s  head;  for  you  can  never  put  it 
out  again.” 

In  character  Wolsey  was  proud  and  ambitious.  To 
his  equals  he  was  commanding  and  haughty,  especially 
when  any  indication  of  contempt  for  his  origin  was  dis¬ 
played,  and  nature  had  so  endowed  him  with  the  dom¬ 
inating  spirit  that,  in  his  intercourse  with  men,  the  ac¬ 
cident  of  their  superior  birth  seemed  but  of  trivial  im¬ 
portance. 

The  envy  and  hatred  of  the  members  of  the  nobility 
were  therefore  the  more  embittered  by  the  sense  of  their 
own  social  superiority,  and  his  ultimate  downfall  was 
hailed  by  them  as  a  great  relief  from  the  domination  of 


MARY  STUART. 
(1542-1587.) 
Page  85. 


THE  ROYAL  EFFIGIES. 


85 


a  man  whom  they  regarded  as  an  upstart.  In  disposition 
he  was  lavish  rather  than  generous.  In  manners  he  was 
persuasive  and  insinuating,  when  it  suited  his  purpose, 
and,  from  the  affability  of  his  demeanor  toward  his 
dependents,  was  very  popular  with  those  who  served 
him. 

His  intellectual  capacity  was  of  the  highest  order,  as 
shown  during  his  administration  of  the  office  of  chan¬ 
cellor.  On  this  point  we  have  the  testimony  of  one  of  his 
contemporaries,  Sir  Thomas  More.  With  More  as  his 
authority,  Hume  says:  “A  strict  administration  of  jus¬ 
tice  took  place  during  his  enjoyment  of  this  high  office; 
and  no  chancellor  ever  discovered  greater  impartiality 
in  his  decisions,  deeper  penetration  of  judgment,  or 
more  enlarged  knowledge  of  law  and  equity.” 

Wolsey’s  death  took  place  in  the  year  1535,  in  the 
sixtieth  year  of  his  age. 


MARY  STUART. 

(1542-1587.) 

Mary  Stuart,  Queen  of  Scots,  was  born  in  Linlithgow 
Castle,  Scotland,  in  1542.  She  was  the  daughter  of 
James  V  of  Scotland  and  Mary  of  Lorraine.  Her 
grandfather,  James  IV  of  Scotland,  had  married  Mar¬ 
garet,  daughter  of  Henry  VII  of  England,  and  she  was, 
therefore,  first  cousin  once  removed  to  Elizabeth  of 
England.  Upon  the  death,  without  children,  of  queen 


86 


THE  ROYAX.  EFFIGIES. 


Mary  of  England,  daughter  of  Henry  VIII  and 
Catharine  of  Aragon,  Mary  Stuart  was  regarded  by 
herself  and  the  Catholic  party  as  rightful  heir  to  the 
English  throne.  This  claim  was  the  necessary  result  of 
the  refusal  of  the  Catholics  to  recognize  the  legality  of 
the  divorce  of  Henry  VIII  from  Catharine  of  Aragon, 
as  being  without  the  papal  sanction.  The  legitimacy 
of  Elizabeth,  Henry’s  daughter  by  Anne  Boleyn,  was 
therefore  denied  by  them,  and  hence  arose  the  plots 
and  bitter  controversies  that  finally  resulted  in  the 
death  of  Mary  Stuart  upon  the  scaffold.  James  V 
died  a  few  days  after  the  birth  of  his  daughter,  and 
Mary  became  queen  of  Scotland  while  still  an  infant. 
At  the  age  of  six  she  was  betrothed  to  the  Dauphin 
of  France,  afterward  Francis  II,  and  was  sent  to 
the  French  eourt  to  be  educated.  Previous  to 
her  departure  for  France  her  hand  had  been  sought 
for  the  young  Edward,  afterward  Edward  VI  of 
England,  but  it  had  been  refused.  In  the  year 
1558,  at  the  age  of  sixteen,  Mary  was  married  to 
Francis,  and  for  the  next  ten  years  her  life  was 
an  eventful  one.  In  the  same  year  with  her  marriage 
occurred  the  death  of  queen  Mary  of  England,  and 
forthwith  Mary  Stuart  laid  claim  to  the  crown.  Eliza¬ 
beth,  however,  ascended  the  English  throne  with  the 
enthusiastic  backing  of  her  Protestant  subjects,  being  a 
large  majority  of  the  English  people,  and  this  indis¬ 
creet  claim  of  Mary  was  the  principal  cause  of  her  sub¬ 
sequent  troubles.  Francis  II  died  in  1560,  and  the  fol- 


THE  ROYAL  EFFIGIES. 


87 


lowing  year,  at  the  age  of  nineteen,  Mary,  with  bitter 
regret,  sailed  for  Scotland  to  undertake  the  government 
of  her  native  land.  The  flame  of  the  reformation  had 
burned  fiercely  in  Scotland,  and  at  that  time  the 
country  was  practically  under  the  control  of  the  minis¬ 
ters  of  the  reformed  church,  at  least  in  matters  of 
opinion,  headed  by  the  fiery  and  eloquent  John  Knox, 
and  the  position  of  the  queen,  throughout  her  life  an 
ardent  Catholic,  was  made  very  uncomfortable.  The 
question  of  her  marriage  now  became  uppermost,  and, 
after  much  deliberation,  Lord  Darnley  was  selected,  a 
great  grandson  of  Henry  VII  of  England,  and  there¬ 
fore  Mary’s  second  cousin.  The  marriage  took  place  in 
1565,  and  the  following  year  a  son  was  born,  soon  to 
become  James  VI  of  Scotland,  and  later,  upon  the 
death  of  Elizabeth,  James  I  of  England.  Shortly 
after  the  Darnley  marriage  occurred  the  affair  with 
Rizzio,  Mary’s  clever  Italian  secretary,  ending  in  the 
murder  of  Rizzio  in  the  apartments  of  the  queen,  at 
Holvrood  Palace,  by  Darnley  and  his  accomplices.  For 
this  act  Mary  never  forgave  her  husband,  and  in  1567  oc¬ 
curred  the  murder  of  Darnley.  Of  this  crime  the  earl  of 
Bothwell  was  accused,  and  in  public  opinion  generally 
adjudged  as  guilty.  Whether  or  no  Mary  herself  was 
an  accomplice  was  hotly  disputed  at  the  time,  and  the 
controversy  has  continued  down  to  our  own  time. 
Three  months  after  Darnley ’s  death  Mary  married 
Bothwell,  who  had  divorced  his  wife  for  this  pur¬ 
pose,  and  a  cry  of  indignation  arose  in  Scotland 


88 


THE  ROYAL  EFFIGIES. 


which  took  the  form  of  rebellion.  The  queen’s  forces 
were  defeated,  and  she  herself,  being  taken  prisoner, 
was  confined  in  Lochleven  Castle,  and  compelled  to 
abdicate  in  favor  of  her  infant  son.  After  a  year  of 
confinement  she  escaped  from  Lochleven,  but  the 
forces  she  gathered  about  her  were  again  defeated, 
and  three  days  later,  to  escape  capture,  she  entered 
England,  May  16,  1568.  Her  object  was  to  make  a  per¬ 
sonal  appeal  to  Elizabeth  to  assist  a  fellow  sovereign  in 
distress,  but  Mary  had  made  a  miscalculation.  Her 
former  claim  to  the  English  throne  had  made  her  a 
dangerous  rival,  and  for  the  next  nineteen  years  she 
lived  in  England  the  life  of  a  captive.  The  active  life 
of  Mary  Stuart,  during  which  she  played  the  part  of  a 
great  historical  figure  in  the  personal  and  political 
drama  of  her  time,  was,  therefore,  from  1558  to  1568, 
between  her  seventeenth  and  twenty-seventh  years. 
During  her  captivity  constant  efforts  were  made  to  set 
her  free,  the  last  and  great  conspiracy  being  that  of 
Babington  in  1586.  For  her  part  in  this  she  was  tried 
and  condemned  to  death.  In  this  conspiracy  the  vital 
question  turned  upon  the  point  of  Mary’s  guilty  knowl¬ 
edge  of,  and  consent  to,  that  part  of  the  plot  which  in¬ 
cluded  the  assassination  of  queen  Elizabeth  as  one  of 
the  objects  of  the  conspirators,  and  the  placing  of  her¬ 
self  upon  the  English  throne.  Mary  herself,  while 
admitting  certain  minor  accusations,  denied  such  guilty 
knowledge,  and  in  regard  to  this,  as  in  the  question  of 
her  complicity  with  Darnley’s  murder,  a  bitter  contro- 


QUEEN  ELISABETH. 
(1533-1603.) 

Page  SO. 


i 


THE  ROYAL  EFFIGIES. 


89 


versy  arose  at  the  time  and  exists  to  the  present  day. 
She  was  beheaded  at  Fotheringay  Castle  on  February 
8,  1587,  in  the  forty-sixth  year  of  her  age.  She  met  her 
fate  with  resolution  and  dignity. 

Mary  Stuart  was  a  woman  of  great  accomplishments, 
both  of  mind  and  body.  Beautiful  in  face  and  figure, 
she  possessed,  in  a  wonderful  degree,  the  power  of 
fascination.  Beneath  her  charm  of  manner,  however, 
lay  an  active  and  ambitious  temper,  and  when  carried 
away  by  her  ardent  loves  and  hates  she  seemed  to  stop 
at  nothing  to  accomplish  the  fulfilment  of  her 
purpose.  But  with  all  her  passion  and  her  faults  there 
ran  throughout  her  character  a  certain  loftiness  of  spirit 
which  found  its  full  expression  when  summoned  to 
face  death  upon  the  scaffold,  and  during  her  life  she 
never  appeared  to  so  great  advantage  as  when  called 
upon  to  leave  it. 


The  original  bronze  bust,  of  which  this  is  a  plaster 
copy,  is  to  be  seen  in  the  National  Portrait  Gallery  in 
London,  in  the  same  hall  that  contains  the  royal 
effigies. 

QUEEN  ELIZABETH. 

(1533-1603.) 

Elizabeth  of  England  was  the  daughter  of  Henry 
VIII  and  the  ill-fated  Anne  Boleyn.  She  as¬ 
cended  the  throne  in  the  year  1558  at  the  age  of 


90 


THE  ROYAL  EFFIGIES. 


twenty-five.  A  woman  of  strong  and  determined  char¬ 
acter,  and  called  upon  as  an  almost  absolute  sovereign 
to  take  an  active  part  in  the  stirring  times  in  which  she 
lived,  her  name  has  become  a  memorable  one  in  his¬ 
tory.  Fierce  and  bitter  have  been  the  contentions  that 
have  arisen  in  regard  to  her  conduct  in  the  various 
crises  that  arose  during  her  long  reign,  and  their  echo 
is  heard  even  down  to  our  own  day. 

Foremost  in  point  of  dramatic  interest  was  her  quarrel, 
political  and  national,  as  well  as  personal,  with  her  cousin 
Mary  Stuart,  Queen  of  Scots,  culminating  in  the  death 
upon  the  scaffold  of  her  life-long  rival.  In  extenuation, 
if  not  in  vindication,  of  Elizabeth,  it  must  always  he  re¬ 
membered  that  Mary,  representing  political  and  religi¬ 
ous  ideas  that  the  people  of  England  regarded  as  dan¬ 
gerous  to  their  liberties,  throughout  her  life  was  almost 
compelled  by  circumstances  to  plot  against  the  life  and 
throne  of  Elizabeth.  The  last  plot  for  which  Mary  suf¬ 
fered  death  occurred  in  1586,  and  is  known  as  Babing- 
ton’s  conspiracy.  The  evidence,  written  and  oral,  was 
overwhelming,  and  Mary  could  offer  nothing  hut  her 
own  denial,  and  a  claim  that  the  letters  produced 
against  her  were  forgeries.  The  English  people,  all  too 
accustomed  to  the  violent  methods  of  the  time,  and  re¬ 
membering  the  cruel  scenes  enacted  during  the  preced¬ 
ing  reign  of  Mary  Tudor,  clamored  for  her  death  as 
their  only  relief  against  the  continual  menace  of  revolu¬ 
tion,  and  the  death  warrant  was  signed  by  Elizabeth  on 
February  1,  1587.  An  affecting  letter  written  by  Mary 


THE  BOYAL,  EFFIGIES. 


91 


to  Elizabeth  after  her  condemnation,  the  scene  upon 
the  scaffold,  and  her  sex,  created  at  the  time,  and  will 
always  continue  to  create,  profound  sympathy  for  the 
fate  of  the  Scottish  queen. 

The  defeat  of  the  Spanish  Armada,  fitted  out  by  Phil¬ 
ip  II  of  Spain,  to  conquer  England  and  to  avenge  the 
death  of  Mary  Stuart,  saved  England  from  the  disaster 
of  even  temporary  Spanish  rule,  and  was  the  principal 
event  in  the  foreign  relations  of  England  during  the 
reign  of  Elizabeth. 

The  voyages  and  discoveries  of  Sir  Walter  Raleigh  are 
of  especial  interest  to  Americans.  For  the  English- 
speaking  race,  the  fact  that  Shakespeare  flourished  in 
this  period  makes  the  Elizabethan  Age  the  most  impor¬ 
tant  epoch  in  the  history  of  English  literature. 


The  full-length  effigy  of  Elizabeth,  in  marble,  of 
which  this,  in  plaster,  is  in  part  a  copy,  is  a  recumbent 
figure  upon  her  tomb  in  the  chapel  of  Henry  VII  in 
Westminster  Abbey. 


CATALOGUE  OF  PICTURES. 


No.l 

p.95 


Southampton,  Long  Island,  August,  1912. 

The  following  pictures,  reproduced  for  this  volume 
by  the  photogravure  process,  and  numbered  to  corre¬ 
spond  with  the  descriptions  in  the  Catalogue,  were  ob¬ 
tained  by  me  at  the  time  and  places  stated  in  the  text. 
Although  the  artists  are  for  the  most  part  unknown,  the 
pictures,  painted,  with  two  or  three  exceptions,  upon 
panel,  are  submitted  as  original  examples  of  early  Italian 
art.  The  sizes,  given  in  inches,  include  the  frames. 

Among  the  objects  of  plastic  art  exhibited  in  the 
museum  there  are  no  examples  of  original  work,  the  up¬ 
ward  of  seventy  Greek,  Italian,  and  English  Renaissance 
reproductions  being  in  marble,  bronze,  and  plaster,  those 
in  marble,  including  the  eighteen  portrait  busts  of  the 
Roman  Emperors,  numerically  predominating. 

Not  included  in  the  above  enumeration  are  thirty- 
eight.  plaster  slabs  of  the  frieze  of  the  Parthenon,  ob¬ 
tained  from  the  Metropolitan  Museum  of  Art  of  New 
York.  These  reproductions  have  been  placed  under  the 
cornice  around  the  two  main  halls  and  in  the  smaller 
rooms. 

With  the  exception  of  the  “  Winged  Victory  of 
S'amothrace,  ”  which  is  smaller,  and  the  imperial  busts, 
which  are  larger,  all  the  reproductions  are  of  the  same 
size  as  their  respective  originals. 


S.  L.  P. 


No.  2 
p.  95 


1 


Madonna  and  Child. 

Unknown  Florentine.  Fifteenth  century.  Paint¬ 
ed  on  panel.  At  the  bottom  of  the  frame  can  be 
made  out  the  Latin  inscription:  “Ave  Maria 
Gratia  Plena,  D.  0.  M.”  Hail  Mary  full  of  grace, 
Deo  Optimo  Maximo  (To  God  the  best  the  greatest). 
Many  decorative  religious  panels  similar  to  this 
have  survived  in  Italy  to  the  present  day. 

Obtained  in  Florence  in  1893. 

47  x  22 


2 

From  the  Convento  Delle  Contesse,  Near  Foligno, 
Central  Italy. 

Evidently  a  votive  offering,  representing  a  young 
monk  as  donor  of  a  church  or  convent  with  a  di- 


96 


CATALOGUE  OF  PICTURES. 


minutive  kneeling  nun.  In  Italian  and  Latin,  on 
the  rim  of  the  dais,  are  painted  certain  words  and 
numerals  of  which  the  following  is  a  translation : 
“  Pray  for  SimoneLechovelia,MCCCCLXXI  ( 1471) 
Cosmere  painted  this.  ’  ’  Painted  on  panel,  frame 
and  picture  being  one  piece. 

Obtained  in  Florence  in  1896. 

59  x  38 


3 


Repose  In  Egypt. 

Unknown  Italian.  Sixteenth  century. 
Attributed  to  F.  Baroccio  (1528-1612.) 
Obtained  in  London  in  1881. 

30  x  12 

4 


Madonna,  Child  and  Adoring  Angel  Offering  Flowers. 

Unknown  early  Venetian. 

First  half  of  sixteenth  century.  Probably  by  some 
pupil  of  Palma  Vecchio  (1480-1528). 
Obtained  in  London  in  1881. 

30  x  26 


The  Virgin  of  Mercy. 

Ansano  di  Pietro  Mencio,  called  “Sano  di 
Pietro  ”  (1406-1481).  A  painter  of  Siena,  whose  nu- 


No.  3 
p.  96 


CATALOGUE  OF  PICTURES. 


97 


merous  works  are  mostly  to  be  seen  in  the  gallery 
of  Siena,  Italy.  The  predella  belongs  to  an  earlier 
period.  Obtained  in  Florence  in  1896. 

36x24 

6 

Madonna  and  Child. 

Francesco  Bissolo  (1490-1530). 

Pupil  of  Giovanni  Bellini  (1426-1516). 
Bissolo ’s  works  are  rarely  seen  outside  of  Venice. 
Obtained  in  Venice  in  1896. 

49  x  37 

7 

Madonna  and  Child  with  St.  John  and  Angels. 

Unknown  Italian.  Roman  school. 
Second  half  sixteenth  century. 

Obtained  in  Venice  in  1896. 

36  x  28 

8 

Madonna  and  Child. 

Attributed  to 

Girolamo  dai  Libri  (1472-1555).  School  of  Verona. 
Obtained  in  Venice  in  1896. 

40  x  30 


9 


The  Mystic  Marriage  of  St.  Catharine. 

Obtained  at  the  sale  of  the  pictures  of  the  late 
S.  L.  M.  Barlow,  in  New  York,  in  1889.  The  cata- 


98 


CATALOGUE  OF  PICTURES. 


logue  at  the  time  of  the  sale  contained  the  follow¬ 
ing  statement:  “Giovanni  Bellini  (1426-1516). 
This  picture  was  taken  from  a  gallery  in  Silesia  by 
the  troops  of  Napoleon  and  afterward  restored. 
Purchased  by  the  late  owner  upon  the  recommen¬ 
dation  of  Sir  Charles  Eastlake.” 

36  x  27 


10 


Madonna  in  Adoration,  with  St.  Joseph. 
Unknown  Early  Florentine. 

End  of  fifteenth  century  or  beginning  of  six¬ 
teenth.  Very  similar  in  style,  subject  and  color  to 
a  picture  in  the  Uffizi  Gallery,  at  Florence,  by 
Lorenzo  di  Credi  (1459-1537). 

Obtained  in  Florence  in  1891. 

42  x  42 


li 


Madonna  and  Child.  Unknown  Early  Venetian. 

Byzantine  style  of  fourteenth  century. 
Obtained  in  Venice  in  1896. 

52  x  37 


12 

Madonna  and  Child. 

Unknown  early  Venetian.  First  half  sixteenth 
century. 

Possibly  by  Boccaccio  Boccacino  or  some  unknown 
pupil  of  Giorgione  (1476-1511). 


CATALOGUE  OF  PICTURES. 


99 


Obtained  in  1896  from  the  Palazzo  Griustiniani 
Yescovio,  Grand  Canal,  Venice.  Schiavone 
Collection. 

33  x  27 

13 

Madonna,  Child,  St.  John  and  St.  Joseph. 

Attributed  to  Innocenzo  da  Imola  (1494—1549). 

A  pupil  of  Raphael  (1483-1520). 
Obtained  from  the  Palazzo  Giustiniani  Vescovio, 
Venice,  in  1896. 

53  x  43 

14 

Madonna,  Child,  and  St.  Anne  as  Adoring  Nun. 

Unknown  Italian.  Lombard  School. 
Sixteenth  Century. 

Obtained  from  the  Palazzo  Griustiniani  Vescovio, 
Venice,  in  1896. 

34  x  28 

15 

Madonna  and  Child  with  the  Scapular. 

Unknown  Italian. 

Obtained  from  the  Church  of  Santa  Zaccheria, 
Venice. 

62  x  27 


100 


CATALOGUE  OF  PICTURES. 


16 


Madonna  and  Child. 

Unknown  early  Venetian.  Byzantine  style  of 
fourteenth  century. 

Obtained  in  Venice  in  1893. 

26  x  22 


17 


Unknown  early  Italian.  Probably  early  part  of 
fifteenth  century. 

Obtained  in  Venice  in  1896. 

25  x  18 


Madonna  and  Child. 

Unknown  Italian.  Latter  part  of  sixteenth 
century. 

Obtained  in  London  in  1881. 

41  x  35 

18 

St.  John  in  the  Wilderness. 

Unknown  early  Venetian.  Probably  middle 
of  fifteenth  century.  Something  in  the  style  of 
the  Vivarini,  Venetian  painters  of  the  island  of 
Murano,  near  Venice,  where  the  glass  works  are 
now  situated. 

Obtained  from  the  Palazzo  Pesaro,  Grand  Canal, 
Venice,  in  1896. 

53  x  27 


No.  5 
p.96 


CATALOGUE  OF  PICTURES. 


101 


19  and  20 

The  Annunciation. 

Unknown  Venetian.  Sixteenth  century.  In 
the  second  style  of  Bissolo  (1490-1530?)  as  shown 
in  one  of  his  pictures,  differing  from  the  others,  in 
the  Royal  Academy  at  Venice. 

Obtained  in  Venice  in  1893. 

37  x  33 


21 

Portrait  of  a  Woman. 

Unknown  Florentine. 

End  of  sixteenth  or  beginning  of  seventeenth 
century. 

In  the  style  of  Angelo  Bronzino  (1577-1621). 
Obtained  in  New  York. 

30  x  24 


22 

Unknown  Italian  portrait  of 

Petrarch. 

Obtained  in  London  in  1881. 
23  x  17 


102 


CATALOGUE  OF  PICTURES. 


23 

Flight  into  Egypt. 

Unknown  Italian.  Style  of  Parmigianino 
(150L-1540).  Painted  on  copper. 
Obtained  from  the  Armenian  monks  in  their  mon¬ 
astery  on  the  island  of  San  Lazaro  in  the 
Lagoons,  near  Venice,  in  1896. 

14  x  13 


24 


Water  Color  Copy  of  Titian’s  Christ  and  the  Disciples 
at  Emmaus. 

Original  (large  picture)  in  the  Museum  of  the 
Louvre.  Of  the  seated  figures,  one  represents  the 
Emperor  Charles  V  of  Germany,  and  the  other 
the  Cardinal  Ximenes  of  Spain.  The  youth  in  the 
background  is  Philip  II  of  Spain,  and  the  figure 
in  workman’s  clothes  is  Titian  himself. 

Obtained  from  a  copyist  in  the  Louvre. 

24  x  19 


25 


St.  Paul. 

Unknown.  The  picture  is  something  in  the 
style  of  the  Vivarini,  early  Venetian  painters,  but 
the  inscription  on  the  top  of  the  picture  in  some 


“T-502  WZ 


CATALOGUE  OF  PICTURES. 


103 


strange  language  would  indicate  a  different  origin. 
Obtained  from  the  Palazzo  Pesaro,  Grand  Canal, 
Venice,  in  1896. 

69  x  36 

26 

Madonna,  Child  and  St.  John. 

Water  color  copy  of  Botticelli’s  Madonna  of  the 
Louvre. 

Obtained  from  Mr.  Randall,  an  English  artist, 
while  copying  it  in  the  Louvre. 

36  x  27 

27  and  28 

Annunciation. 

Frame  and  panel  are  one  piece. 
Obtained  near  Florence  in  1891. 

13  x  13 

29 

Arms  of  Pope  Innocent  XII. 

A  member  of  the  Pignatelli  family  of  Naples. 
Pope  from  1691  to  1700. 

Painted  on  Wood. 

Obtained  in  Florence  in  1893. 

60  x  40 


104 


CATALOGUE  OF  PICTURES. 


30 

Madonna  and  Child. 

Unknown  Venetian,  in  the  transition  style 
from  the  Byzantine  to  the  early  Italian.  On  the 
scroll  in  the  hands  of  the  child  is  written  in  cor- 
rupt  Byzantine  Greek  an  inscription  of  which  the 
following  is  a  translation:  “Blessed  are  those 
who  keep  my  ways.” 

Obtained  in  Venice  in  1896. 

46  x  37 

31 

Portrait  of  an  Austrian  Prince. 

This  picture  bears  date  1637  and  is  signed  B. 
Saarburg.  Obtained  from  the  Palazzo  Giustiniani 
Vescovio,  Grand  Canal,  Venice,  in  1896. 

40  x  34 

32 

Madonna,  Child,  and  St.  John.  Unknown  Italian. 

Sixteenth  century.  Painted  on  canvas.  Obtained 
from  the  Palazzo  Giustiniani  Vescovio  in  1896. 
Attributed  to  Bonifazio  Veneziano. 

47  x  42 

33 

Head  of  the  Madonna. 

Carlo  Dolci.  Florentine  painter.  1616-1686. 
Obtained  from  the  collection  of  the  late  S.  L. 


No.  7 

p.97 


CATALOGUE  OF  PICTURES. 


105 


M.  Barlow  at  the  sale  of  his  pictures  in  New  York 
in  1889. 


45  x  40 


34 

Madonna,  Child,  St.  Joseph  and  Adoring  Saint. 

Giovanni  Buoneonsiglio,  called  “II  Mares- 
calco,”  a  painter  of  Vicenza.  Beginning  of  six¬ 
teenth  century.  The  signature  can  be  made  out 
with  the  aid  of  a  magnifying  glass. 

Obtained  in  Venice  in  1893. 

53  x  37 

35 


Unknown  Venetian  Portrait. 

Sixteenth  century.  Obtained  in  Florence  in  1896. 
43  x  39 


36 


Enthroned  Madonna,  with  Child  and  Angels. 
Unknown  Italian. 

Latter  part  of  the  sixteenth  century. 
Obtained  in  Padua,  Italy,  in  1896,  where  it  had 
been  recently  brought  from  the  little  town  of 
Orestano,  Sardinia,  in  a  much  damaged  condition. 
Lower  part  restored  in  Venice  in  1896.  Painted 
on  panel. 


58  x  34 


106 


CATALOGUE  OF  PICTURES. 


37 

Madonna  and  Child. 

Unknown  early  Venetian,  probably  end  of 
fourteenth  century. 

Obtained  from  the  Armenian  monks  in  1896 
in  their  monastery  near  Venice,  and  by  them  at¬ 
tributed  to  Nicolo  Semetecolo  (1350-1400). 

40  x  36 


38 

Madonna  and  Child. 

Unknown  early  Italian. 

Obtained  in  Venice  in  1896  in  a  much  damaged 
condition.  Restored  by  puncturing  the  flaking 
paint,  putting  paste  underneath,  covering  with 
paper  and  then  ironing  the  paint  fast  to  the  panel 
with  a  hot  iron. 

37  x  27 


39 

Horace  Walpole,  Fourth  Earl  of  Orford. 

Artist  unknown.  Obtained  in  London  in  1881. 
33  x  29 


40 


Copy  of  Rembrandt's  Portrait  of  Himself. 

Original  in  the  Gallery  of  The  Hague,  Holland, 
and  obtained  in  that  city. 

33  x  28 


No.  8 

p.  97 


CATALOGUE  OF  PICTURES. 


107 


41 


Landscape. 


Attributed  to  “Old  Crome.” 
Obtained  in  London  in  1881. 
23  x  19 


42 

Angels  in  Flight.  Decorative  Panel. 

Unknown. 

Obtained  in  Florence  in  1896. 
72  x  30 


43 

Copy  of  Giovanni  Bellini ’s  celebrated  portrait  of  the 

Venetian  Doge,  Leonardo  Loredano. 

Original  in  the  National  Gallery,  London. 
Obtained  there  from  a  copyist. 

32  x  36 


44 


Marino  Faliero,  Doge  of  Venice,  led  out  for  execution 
on  the  Giant  Staircase  of  the 
Doge’s  Palace. 

Andrew  Geddes. 

Obtained  in  London  in  1881. 

22  x  18 


CATALOGUE  OF  PICTURES. 


45 

Copy  of  Rembrandt’s  picture  known  as 

“The  Lady  with  the  Pink.” 

The  original  is  in  the  Dresden  Oallery. 
Obtained  in  Munich. 

50  x  42 


MAft 


No.  10 

p.  98 


No.  11 

p.  98 


No.  12 
98 


P- 


No.  13 

p.  99 


No.  14 
p.  99 


No.  17 

p.100 


■ 


No.  17V2 

p.100 


* 


No.  18 

p.100 


No.  20 
p.  101 


No.  2  2 
p.  101 


No.  25 

p.  102 


No.  30 
p.  104 


No.  31 

p.  104 


No.  3  2 


No.33 

p.l04 


No.  34 


No.  3  5 

p.105 


No.  37 

p.  106 


No  38 

p.106 


REPRODUCTIONS  IN  MARBLE,  BRONZE 
AND  PLASTER  OF  ANTIQUE  AND 
RENAISSANCE  SCULPTURE. 


GREEK  SCULPTURE. 


The  history  of  sculpture  anions:  the  Greeks  represents 
a  progressive  development  up  to  a  point  that  has  never 
since  been  equalled,  followed  by  an  inevitable  decline, 
until  in  its  latest  period,  the  original  creative  faculty 
having  disappeared,  the  sculptor  was  obliged  to  con¬ 
tent  himself  with  the  reproduction,  with  variations,  of 
already  existing  forms.  These  phases  of  development 
have  been  divided  into  four  epochs. 

First  comes  the  archaic  period,  which  includes  the 
plastic  productions  which  antedate  the  time  of  Phidias, 
when  the  Greek  sculptors,  more  or  less  unconsciously, 
were  still  working  within  the  shadow  of  the  dull  form¬ 
alism  of  Egypt  and  the  East.  This  period  ends  with  the 
beginning  of  the  fifth  century  B.  C. 


112 


GREEK  SCULPTURE. 


The  second  epoch,  dominated  by  the  vigorous  origi¬ 
nality  of  Phidias,  represents  the  period  of  highest  de¬ 
velopment,  when  the  Greeks,  in  the  full  and  assured 
enjoyment  of  personal  and  intellectual  freedom,  follow¬ 
ing  the  defeat  of  the  Persians,  threw  off  all  restraint, 
and  working  with  that  certainty  and  precision,  un¬ 
trammeled  by  tradition,  which,  is  a  condition  of  genius, 
produced  those  masterpieces  in  architecture  and  sculp¬ 
ture  which  have  been  the  admiration  of  successive  gen¬ 
erations  down  to  our  own  time. 

The  third  epoch  was  reckoned  from  about  the  time 
of  the  death  of  Phidias  and  his  immediate  successors, 
at  the  end  of  the  fifth  century,  B.  CX,  to  that  of  the 
death  of  Alexander  the  Great  in  the  last  quarter  of  the 
fourth  century  B.  0.,  a  period  of  less  than  a  hundred 
years,  when  Scopas  and  Praxitiles  and  their  immediate 
predecessors,  contemporaries,  and  successors  executed 
work  of  extraordinary  finish  and  perfection,  though 
cast  in  a  less  heroic  mould  than  that  of  the  sculptors  of 
the  older  generation. 

The  fourth  epoch,  similar  in  many  respects  to  the 
third,  dates  from  the  conquests  of  Alexander  to  the 
subjugation  of  Greece  by  Borne,  146  B.  C.,  a  period  of 
about  one  hundred  and  seventy-five  years,  when 
the  highest  order  of  original  creative  force 
had  disappeared,  though  works  of  great  power 
and  beauty  continued  to  be  executed. 

And  here  it  may  be  remarked  that  the  ideal 
creations  of  the  artist  are  after  all  but  the  embodiment 


GREEK  SCULPTURE. 


113 


of  tlie  aspirations  of  a  whole  people,  so  far  as  they  can 
be  expressed  within  the  limitations  of  art.  No 
great  artist  ever  springs  unheralded  from  the  midst 
of  a  rude  and  uncultured  people.  His  inspiration  must 
come  from  his  surroundings,  wliich  he  in  turn  creates. 

And  so,  as  we  look  into  the  future,  it  may  never  be 
that  another  community  will  ever  hold  within  itself, 
and  be  able  to  combine,  the  elements  that  made  the 
Greek  supreme  in  the  world  of  plastic  art.  With  little 
of  the  introspective  spiritual  life  which  is  the  out¬ 
growth  of  the  Christian  ideal,  the  sensitive  Greek  mind 
sought  an  outlet  in  the  worship  of  the  beautiful, 
and  regarding  the  body  as  the  temple  of  a 
soul  that  might  be  as  mortal  as  itself,  the 
energies  of  the  Greek  wrere  all  bent  in  the  direction  of 
creating  forms  of  beauty,  in  the  intellectual  as  well  as 
the  material  wTorld,  that  would  satisfy  a  longing  that  had 
in  it  little  of  the  spiritual  aspiration  as  conceived  in 
a  later  age. 

Reversing  the  fundamental  doctrine  of  Christianity, 
he  therefore  created  his  gods  in  his  own  image,  and 
with  an  artistic  temperament  that  for  some  unex¬ 
plained  reason  has  never  been  equalled,  the  Zeus,  the 
Athena,  the  Apollo,  the  Venus,  or  the  Hermes  created 
by  him,  each  expressing  some  lofty  attribute  of  mind 
or  beauty  of  person,  or  combination  of  both,  stood  for 
eighteen  centuries  unrivalled  in  the  world  of  art,  until, 
for  a  brief  period,  challenged  by  another  school  which 
had  also  for  its  motive  a  fervent  worship  of  the  beauti- 


114 


GREEK  SCULPTURE. 


fill,  this  time  spiritualized  by  the  element  of  religious 
devotion.  When  Michael  Angelo  created  the  Virgin 
supporting  in  her  arms  the  dead  Christ,  and  Raphael 
painted  his  S'istine  Madonna,  the  world  again  saw  the 
keenest  artistic  temperament,  united  with  the  highest 
order  of  technical  skill,  develop  an  art  which  was  sus¬ 
tained  by  a  simple  aspiration  understood  by  all. 

Then  it  was  perceived  that  Phidias  and  Michael 
Angelo,  each  the  inspired  interpreter  of  the  sentiment 
of  the  age  in  which  he  lived,  reigned  supreme  in  that 
realm  where  the  sceptre  can  be  held  only  by  him,  who, 
in  his  relations  to  the  material  world,  approaches  near¬ 
est  to  his  Creator. 

How  profoundly  conscious  the  Creeks  were  of  the 
majesty  of  a  great  work  of  art  is  illustrated  by  the  im¬ 
pressive  story  told  of  Phidias  as  he  stood  before  his 
completed  statue  of  the  Olympian  Zeus.  He  was  then 
an  old  man,  and  this  was  the  crowning  work  of  a  long 
life  devoted  to  his  art.  As  he  gazed  upon  this  re¬ 
splendent  statue,  instinct  with  life,  power,  dignity  and 
beauty,  he  raised  his  hands  in  prayer,  and  implored  the 
living  God  to  vouchsafe  some  sign,  if  the  work  were 
pleasing  to  him.  Then  suddenly,  through  the  opening 
in  the  roof  of  the  temple,  there  fell  at  his  unharmed  feet 
a  thunderbolt,  and  he  knew  that  his  work  was  accept¬ 
able  to  the  benignant  father  of  gods  and  men. 

Of  the  different  epochs  of  Greek  sculpture  here  ex¬ 
hibited  at  Southampton  there  is  at  present  no  example 
of  the  archaic  period. 


VITELLIUS.  VESPASIAN.  TITUS.  DOMITIAN.  NERVA. 


GREEK  SCULPTURE. 


115 


Of  the  work  of  Phidias  there  are  to  be  seen  the 
copies  of  the  more  or  less  mutilated  slabs  of  the  Par¬ 
thenon  Frieze,  and  the  reproduction  of  the  antique 
copy  of  the  head  of  Zeus.  Examples  of  the  third 
epoch  are  represented  by  the  Faun  of  Praxitiles,  the 
Winged  Victory  of  Samothrace  and  probably  the  Psy¬ 
che  of  Capua.  Of  the  fourth  period  we  have  the  Boy 
Extracting  a  Thorn,  The  Wrestlers,  and  The  Laocoon. 

In  the  above  distribution  of  epochs  it  will  be  noted 
how  closely  they  correspond  to  great  political  and 
social  changes  resulting  from  wars,  defensive  or  offen¬ 
sive  as  the  case  may  be. 

To  the  four  periods  above  mentioned  should  be 
added  another,  the  Greco-Roman,  when  Greece, 
iJ.  though  conqueror,  gave  to  the  conquerors  her  litera¬ 
ture  and  art  in  exchange  for  law,  stability  and  order. 
Then  it  was,  when  the  Republic  was  crumbling  to 
pieces  and  the  Empire  being  reared  upon  its  ruins,  that 
the  hard-headed,  practical  Roman,  master  of  the  wealth 
of  the  world,  entered  the  field  as  a  connoisseur  and  col¬ 
lector.  In  the  fierce  rivalry  that  ensued  for  the  posses¬ 
sion  of  the  treasures  of  Greek  art,  scenes  were  enacted 
that  are  but  faintly  suggested  in  our  own  day  when  col¬ 
lections  of  French  pictures  are  exposed  for  sale  in  an 
American  auction  room.  Victorious  Roman  generals, 
returning  with  the  spoil  of  conquered  provinces,  brought 
with  them  as  their  most  valued  trophies  the  marbles, 
bronzes,  and  paintings  that  had  adorned  the  temples 
and  market  places  of  Greece,  and  the  palaces  of  the 


116 


GREEK  SCULPTURE. 


rulers  of  those  countries  that  had  responded  to  Greek 
influence,  and  the  choicest  specimens  of  art  were  set  up 
in  Rome  to  he  gazed  at  by  the  untutored  multitude  of 
the  imperial  city,  or  hid  away  in  the  luxurious  villas 
of  the  Roman  nobles.  To  what  lengths  of  oppression 
and  extortion  a  Roman  connoisseur  was  prepared  to 
go  for  the  gratification  of  the  passion  of  collecting  can 
be  studied  in  the  celebrated  oration  of  Cicero  against 
Yerres,  pro-consul  of  Sicily,  a  province  already  for 
many  generations  dominated  by  Greek  influence,  and 
rich  in  artistic  masterpieces.  In  the  world  of  art  “the 
glory  that  was  of  Greece”  was  at  that  time  transferred 
to  “the  grandeur  that  was  of  Rome,”  and  we  to-day 
inherit  at  Rome,  Naples,  Florence,  London,  Paris  and 
other  continental  cities,  the  magnificent  debris  of  that 
period  of  craze  for  collecting  art  treasures,  the  like  of 
which  has  never  been  equalled. 

Though  lacking  in  ideal  original  creations  the  Graeco- 
Roman  period  is  rich  in  portrait  busts,  of  which  count¬ 
less  numbers  survive,  to  be  seen  to-day  scattered  by  the 
hundred  through  the  museums  of  Europe.  The  busts 
of  the  Emperors  here  exhibited  at  Southampton  are 
examples  of  this  period. 

It  is  hoped  that  from  time  to  time  other  repro¬ 
ductions  may  be  added  to  this  collection  that  will  illus¬ 
trate  more  fully  the  various  phases  of  development  of 
the  Greek  as  well  as  other  periods  of  plastic  art. 


GREEK  SCULPTURE. 


117 


ATHENS  AND  THE  PARTHENON. 

The  Frieze. 

When  the  first  great  historic  conflict  between  Asiatic 
and  European  civilization  took  place  in  the  beginning  of 
the  fifth  century  before  Christ,  Athens  took  the  lead 
in  the  defence  of  Europe.  The  overthrow  of  the  Persian 
hordes  of  Darius  and  Xerxes  at  Marathon,  (490  B.  0.), 
Salamis,  (480  B.  C.)  and  Plataea,  (479  B.  C.)  was  the 
signal  for  such  an  awakening  of  the  human  mind  as 
had  never  been  known  before.  This  extraordinary 
mental  activity  was,  without  doubt,  stimulated,  if  not 
actually  created,  in  the  sensitive  Greek  mind,  by  the 
exaltation  of  spirit  engendered  by  the  devotion,  self- 
sacrifice,  and  consciousness  of  physical  courage,  called 
forth  and  displayed  in  a  successful  defensive  war 
against  vast  numerical  odds,  where  liberty  and  civ¬ 
ilization  were  at  stake.  Immediately  following  the 
Persian  wars  came  the  so-called  “Age  of  Pericles,” 
when  the  intellectual  development  of  man  reached  its 
highest  point.  This  was  the  period  of  culmination  in 
the  world  of  art,  when  the  genius  of  the  sculptor,  the 
architect,  and  possibly  the  painter,  produced  a  result 
that  has  been  since  unrivalled.  A  part  only  of  the 
sculpture  and  architecture  of  the  Periclean  age  has  sur¬ 
vived  and,  of  all  the  creations  in  the  latter  field,  the 
Parthenon,  for  beauty  of  proportion  and  design,  by 
universal  consent,  is  the  one  supreme  structure  of  the 
world.  To  Pericles  and  Phidias  is  due  the  adornment 


118 


GREEK  SCULPTURE. 


of  Athens,  whereby,  in  conjunction  with  the  poets, 
philosophers,  orators,  statesmen,  historians,  and  culti¬ 
vated  men  of  every  profession,  native  and  foreign, 
who  sought  her  out,  she  became  the  artistic  and 
intellectual  centre  of  the  antique  world,  a  kind  of 
magnificent  open-air  University  town.*  Tbus  it  was 
that,  the  traditions  of  learning  remaining  an  active 
force,  she  continued  to  exert,  long  after  her  political 
importance  had  become  but  a  memory,  a  powerful 
influence,  vibrating  through  the  centuries  down  to 
our  own  time.  Pericles  was  the  political  leader  of  the 
dominant  Athenian  democracy  between  about  460 
and  430  B.  C.  United  with  his  extraordinary  capa¬ 
city  for  political  domination  was  a  broad-minded  in¬ 
terest  in  the  permanent  welfare  of  his  native  city, 
that  led  him  to  exert  every  effort  to  make  her  the 
wonder  and  delight,  not  only  of  his  own  age,  but 
that  of  many  generations  to  come.  It  was  his  rare 
good  fortune  to  be  surrounded  by  a  body  of  men 
who,  for  genius  and  ability  in  their  respective  profes¬ 
sions,  have  never  been  equalled.  For  the  purpose  of 
this  account,  however,  we  need  select  but  three,  Phidias, 
Iktinos  and  Kallicrates.  In  the  art  world  of  Athens  at 
that  time,  Phidias,  the  greatest  sculptor  of  all  time, 
was  the  master  mind,  and  to  him  Pericles  confided  the 
supervision  of  all  the  work  connected  with  the  adorn¬ 
ment  of  the  Acropolis.  This  eminence,  originally  a 
fortress,  as  its  name  implies,  rises  from  the  Attic  plain, 


♦See  Note. 


GREEK  SCULPTURE. 


119 


on  which  the  city  is  built,  about  two  hundred  feet  at 
its  highest  point  above  the  city  of  Athens.  It  is  ir¬ 
regular  in  shape  and  contains  about  six  acres,  almost 
level,  surrounded  by  a  sustaining  wall.  Nearly  in  the 
centre  of  this  plateau,  Iktinos  and  Kallicrates  being 
the  architects,  was  built  the  Parthenon,  dedicated  to 
Athena  Parthenos  (the  virgin  Athena),  Goddess  of 
Wisdom,  the  tutelary  deity  of  the  Athenians.  The 
temple  was  begun  probably  453  B.  C.,  constructed 
throughout  of  Pentelic  marble,  and  finished  in  about 
sixteen  years.  The  marble  platform,  which  forms  the 
base  on  which  the  structure  stands,  is  228  feet  long 
and  101  feet  broad.  The  body  of  the  temple  itself, 
called  the  cella,  is  surrounded  on  all  sides  by  Doric 
columns,  forty-six  in  number,  with  an  average  height 
of  about  34  feet.  In  diameter  these  columns  are  a  lit¬ 
tle  over  six  feet  at  the  base,  and  a  little  less  than 
five  at  the  top.  The  cella  is  194  feet  long  and  about 
69  feet  wide.  Within  this  sanctuary  was  placed 
the  celebrated  statue  of  Athena,  the  crowning 
work  of  Phidias  himself.  The  interior  of  the  statue 
was  of  wood,  on  which  was  modelled,  with  some  plastic 
material,  the  form  of  the  goddess,  and  this  was  then 
covered,  for  the  nude  part,  with  ivory  plates,  while 
plates  of  gold  were  used  for  the  garments  and 
such  accessories  of  adornment  as  were  required.  The 
statue  was  full  length,  thirty-eight  feet  in  height,  the 
head  crowned  with  a  richly  sculptured  golden  helmet. 
In  the  outstretched  right  hand  of  the  goddess  stood  a 


120 


GREEK  SCULPTURE. 


winged  Victory,  six  feet  high,  holding  a  wreath,  while 
in  her  left  hand  was  a  spear.  This  imposing  figure  is 
supposed  to  have  remained  in  the  temple,  in  all  its  ma¬ 
jestic  beauty,  for  about  nine  hundred  years,  when  it  fell 
a  victim  to  the  fanaticism  of  the  iconoclasts  of  the  fifth 
century  of  the  Christian  era,  and  from  that  time  on  no 
trace  of  it  has  remained. 

Of  the  plastic  decorations  of  the  exterior  of  the  tem¬ 
ple  we  have  still  the  larger  part  of  the  so-called  frieze 
of  the  Parthenon,  though  in  a  more  or  less  mutilated 
form.  The  frieze  encircled  the  exterior  wall  of  the 
cella.  It  was  524  feet  long,  3  feet  3y2  inches  high,  and 
39  feet  above  the  marble  floor  of  the  temple.  Being 
placed  within  the  columns,  just  beneath  the  cornice  of 
the  cella,  the  view  of  it  was  somewhat  obscured  by  the 
columns.  On  the  west  front,  the  frieze  is  still  in  place, 
though  most  of  that  which  has  survived  is  to  be  found 
in  the  British  Museum,  having  been  brought  to  Eng¬ 
land  by  Lord  Elgin  in  the  beginning  of  this  century. 
There  are,  however,  twenty-two  slabs  still  retained  in 
the  small  museum  at  Athens,  on  the  Acropolis  itself. 
The  plaster  copies  of  about  147  feet  of  the  frieze, 
here  shown  at  Southampton  just  beneath  the  cornice 
of  the  main  hall,  are  an  exact  reproduction,  of  the 
size  of  the  original,  of  a  part  of  the  slabs  now 
in  London,  having  been  made  in  New  York  from 
moulds  in  the  possession  of  the  Metropolitan  Museum 
of  Art.  The  subject  of  the  frieze  is  a  festive  proces¬ 
sion  in  honor  of  the  goddess  Athena.  It  is  the  work 


GREEK  SCULPTURE. 


121 


of  Phidias,  or  done  under  liis  immediate  supervision, 
some  of  it  doubtless  from  his  own  hand,  and  all  of 
it  breathing  the  spirit  of  his  genius.  Much  of  it 
was  shattered  or  entirely  destroyed  at  the  time  of 
the  great  explosion  in  1687.  At  that  time  the  Turks 
were  in  possession  of  Athens  and,  being  hard  pressed 
by  the  Venetians,  made  a  last  stand  on  the  Acropolis 
itself.  Their  powder  being  stored  in  the  Parthenon,  a 
Venetian  bomb  set  fire  to  the  magazine,  and  this  mag¬ 
nificent  temple,  till  that  time  practically  intact  for  over 
two  thousand  years,  was  blown  out  in  the  middle,  on 
both  sides,  and  so  it  has  remained  down  to  our  own  time. 
When  seen  from  the  plain  below,  in  approaching  it 
from  either  end,  it  still  retains,  though  despoiled  of  its 
decorative  sculptures,  much  of  its  ancient  beauty.  Only 
when  one  views  it  from  an  angle  which  permits  the 
sides  to  be  seen  is  the  story  of  its  partial  destruction 
fully  revealed. 

Its  history  as  a  religious  edifice  is  interesting.  In  the 
fifth  century  of  our  era  it  became  a  Christian  church, 
dedicated  to  the  Virgin.  A  thousand  years  later  it  was 
turned  into  a  Mohammedan  mosque,  and  a  minaret  was 
then  added  to  it.  To-day  all  unsightly  additions  have 
been  removed,  and  it  is  preserved  and  shown  as  an 
almost  sacred  relic  of  antiquity. 

A  fine  miniature  reproduction  of  the  Parthenon  in 
its  original  finished  state,  with  all  its  exterior  plastic 
decorations,  on  the  scale  of  one  inch  to  twenty  of  the 


122 


GREEK  SCULPTURE. 


structure  itself,  can  be  seen  in  the  Metropolitan 
Museum  of  Art  of  New  York. 


*Attica  was  a  comparatively  poor  country,  of  very  limited  extent, 
with  but  few  of  the  many  diversified  material  interests  of  modern 
society.  There  were,  moreover,  but  few  religious  questions,  as  under¬ 
stood  in  later  times,  to  occupy  men’s  minds,  nor  was  scientific  investi¬ 
gation  a  prominent  feature  in  the  classic  period.  The  result  was,  that, 
being  allured,  to  the  same  extent  as  in  modern  times,  neither  by  the 
pursuit  of  wealth,  nor  pre-occupied  by  scientific  studies,  or  religious 
controversies,  the  energies  of  as1  keen  and  subtle  minds  as  the  world 
has  ever  known  were  directed  to  the  study  and  cultivation  of  philos¬ 
ophy,  literature  and  art.  With  what  unrivalled  results  the  Greeks 
wrought,  in  these  their  chosen  fields,  is  a  matter  of  history.  Hence, 
enchanted  with  the  intellectual  luxury  of  philosophy,  the  simple  doc¬ 
trines  of  Christianity,  as  preached  by  St.  Paul  to  the  Athenians,  were 
“unto  the  Jews  a  stumbling  block,  and  unto  the  Greeks  foolishness.” 
Later  on  the  acute  Greek  mind,  joyously  aided  by  the  subtlest  of  lan¬ 
guages,  undertook  the  congenial  task  of  weaving  around  primitive  Chris¬ 
tianity  a  web  of  metaphysical  refinement,  and  Athens  having  given 
way  to  Alexandria  as  the  centre  of  intellectual  culture,  there  arose  the 
different  Christian,  as  well  as  pagan,  sects  whose  bitter  hatred  and 
sanguinary  strife  so  disfigure  the  earlier  centuries;  when  the  streets  of 
Alexandria  ran  red  with  the  blood  of  fierce  and  ignorant  fanatics  who 
freely  gave  their  lives  in  the  attack  and  defense  of  metaphysical  sub¬ 
tleties  capable  of  being  understood  only  by  the  acutest  minds  among 
their  leaders.  For  a  brilliant  exposition  of  the  religious'  and  intel¬ 
lectual  condition  of  these  times,  see  Kingsley’s  “Hypatia.”  Of  the  sur¬ 
vivals  of  this  period  of  turmoil,  the  most  interesting  are  the  Copts  of 
modern  Egypt  (the  only  descendants  of  the  ancient  Egyptians),  and 
the  Armenians,  neither  of  whom  could  ever  be  brought  to  acknowledge 
the  ultimate  almost  undivided  sway  of  Rome,  acquired  by  means  of  the 
numerous  oecumenical  councils  convened  for  the  purpose  of  legislating 
on  the  various  questions  of  doctrine  and  discipline  that  arose  in  these 
troubled  times.  Refusing  to  acknowledge  the  authority  of  these  coun¬ 
cils,  both  the  Coptic  and  Armenian  churches  have  maintained  an  un¬ 
interrupted  hierarchy  from  their  foundation  to  the  present  day.  The 
Copts,  now  about  400,000  in  number,  claim  St.  Mark  the  Evangelist  as 
their  first  Patriarch.  Though  the  well-known  inherited  tenacity  ot 
character  and  purpose  of  the  ancient  Egyptians  is  strikingly  exempli¬ 
fied  in  the  modern  Copt,  it  is  a  curious  fact  that  the  American  Presby¬ 
terian  Board  of  Foreign  Missions  has,  within  the  past  few  years,  gained 


GREEK  SCULPTURE. 


123 


many  adherents  among  them  to  modern  Protestantism,  principally 
through  the  introduction  of  excellent  schools.  To  see  our  New  England 
school  masters,  spare  in  form,  intelligent  in  mind,  and  alert  in  manner, 
teaching  the  dark  skinned  little  descendants  of  the  subjects  of  the 
Pharaohs,  interspersed  with  the  Mohammedan  boys  and  girls  of  the 
Arab  race,  in  the  very  strongholds  of  the  early  Christian  anchorites  on 
the  upper  Nile,  is  in  itself  a  most  interesting  experience  for  the  Ameri¬ 
can  traveller  in  that  most  fascinating  of  countries. 


124 


GREEK  SCULPTURE. 


THE  FAUN, 

BY 

Praxitiles  (4th  Century,  b.  c). 

The  marble  original  of  the  plaster  cast  here  shown  is 
in  the  Museum  of  the  Capitol  at  Rome,  and  was  found 
in  1701  at  Civita  Lavinia,  on  the  site  of  an  old  Roman 
villa.  The  underlying  sentiment  which  inspired  this 
statue  was  a  favorite  one  among  the  Greeks,  when  the 
worship  of  beauty  and  nature,  and  a  keen  appreciation 
of  the  subtleties  of  relationship  among  all  created 
things,  supplied  so  much  of  what,  in  our  day,  is  repre¬ 
sented  by  the  distinctly  religious  side  of  life.  The 
original  of  this  celebrated  work,  and  which  served  for 
a  model  of  its  kind,  was  executed  by  Praxitiles,  and  is 
supposed  to  have  been  set  up  at  Megara,  near  Athens. 
Many  repetitions  of  it  have  survived  to  modern  times, 
but  the  one  here  shown  is  considered  the  most  perfect. 

Hawthorne  makes  it  the  keynote  of  his  romance  of 
“The  Marble  Faun,”  and  his  description  of  the  statue 
is  here  given  in  full  as  a  fine  example  of  a  high  order 
of  appreciative  criticism  of  a  work  of  plastic  art: 

“But  we  must  do  more  than  merely  refer  to  this 
exquisite  work  of  art;  it  must  be  described,  however 
inadequate  may  be  the  effort  to  express  its  magic  pe¬ 
culiarity  in  words. 

‘  ‘  The  Faun  is  the  marble  image  of  a  young  man,  lean¬ 
ing  his  right  arm  on  the  trunk  or  stump  of  a  tree;  one 


THE  FAUN. 
By  Pbaxitiles. 
Page  124. 


GREEK  SCULPTURE. 


125 


hand  hangs  carelessly  by  his  side ;  in  the  other  he  holds 
the  fragment  of  a  pipe,  or  some  such  sylvan  instrument 
of  music.  His  only  garment — a  lion’s  skin,  with  the 
claws  upon  his  shoulder — falls  half  way  down  his  back, 
leaving  the  limbs  and  entire  front  of  the  figure  nude. 
The  form,  thus  displayed,  is  marvellously  graceful,  hut 
has  a  fuller  and  more  rounded  outline,  more  flesh,  and 
less  of  heroic  muscle  than  the  old  sculptors  were  wont 
to  assign  to  their  types  of  masculine  beauty.  The 
character  of  the  face  corresponds  with  the  figure;  it  is 
most  agreeable  in  outline  and  feature,  but  rounded  and 
somewhat  voluptuously  developed,  especially  about  the 
throat  and  chin;  the  nose  is  almost  straight,  but  very 
slightly  curves  inward,  thereby  acquiring  an  indescrib¬ 
able  charm  of  geniality  and  humor.  The  mouth,  with 
its  full  yet  delicate  lips,  seems  so  nearly  to  smile  out¬ 
right,  that  it  calls  forth  a  responsive  smile.  The  whole 
statue — unlike  anything  else  that  ever  was  wrought  in 
that  severe  material  of  marble— conveys  the  idea  of  an 
amiable  and  sensual  creature,  easy,  mirthful,  apt  for 
jollity,  yet  not  incapable  of  being  touched  by  pathos. 
It  is  impossible  to  gaze  long  at  this  stone  image  without 
conceiving  a  kindly  sentiment  towards  it,  as  if  its  sub¬ 
stance  were  warm  to  the  touch,  and  imbued  with  actual 
life.  It  comes  very  close  to  some  of  our  pleasantest 
sympathies. 

“Perhaps  it  is  the  very  lack  of  moral  severity,  of 
any  high  and  heroic  ingredient  in  the  character  of 
the  Faun,  that  makes  it  so  delightful  an  object  to  the 


126 


GREEK  SCULPTURE. 


human  eye  and  to  the  frailty  of  the  human  heart.  The 
being  here  represented  is  endowed  with  no  principle  of 
virtue,  and  would  be  incapable  of  comprehending  such; 
but  he  would  be  true  and  honest  by  dint  of  his  simplic¬ 
ity.  We  should  expect  from  him  no  sacrifice  or  effort 
for  an  abstract  cause;  there  is  not  an  atom  of  martyr’s 
stuff  in  all  that  softened  marble;  but  he  has  a  capacity 
for  strong  and  warm  attachment,  and  might  act  de¬ 
votedly  through  its  impulse,  and  even  die  for  it  at 
need.  It  is  possible,  too,  that  the  Faun  might  be  edu¬ 
cated  through  the  medium  of  his  emotions,  so  that  the 
coarser  animal  portion  of  his  nature  might  eventually 
be  thrown  into  the  background,  though  never  utterly 
expelled. 

“The  animal  nature,  indeed,  is  a  most  essential  part 
of  the  Faun’s  composition;  for  the  characteristics  of  the 
brute  creation  meet  and  combine  with  those  of  human¬ 
ity  in  this  strange  yet  true  and  natural  conception  of 
antique  poetry  and  art.  Praxiteles  has  subtly  diffused 
throughout  his  work  that  mute  mystery  which  so  hope¬ 
lessly  perplexes  us  whenever  we  attempt  to  gain  an  in¬ 
tellectual  or  sympathetic  knowledge  of  the  lower  orders 
of  creation.  The  riddle  is  indicated,  however,  only  by 
two  definite  signs;  these  are  the  two  ears  of  the  Faun, 
which  are  leaf-shaped,  terminating  in  little  peaks,  like 
those  of  some  species  of  animals.  Though  not  so  seen 
in  the  marble,  they  are  probably  to  be  considered  as 
clothed,  in  fine,  downy  fur.  In  the  coarser  representa- 


GREEK  SCULPTURE. 


127 


tions  of  this  class  of  mythological  creatures,  there  is 
another  token  of  brute  kindred, — a  certain  caudal  ap¬ 
pendage;  which,  if  the  Faun  of  Praxiteles  must  be 
supposed  to  possess  it  at  all,  is  hidden  by  the  lion’s 
skin  that  forms  his  garment.  The  pointed  and  furry 
ears,  therefore,  are  the  sole  indications  of  his  wild, 
forest  nature. 

“Only  a  sculptor  of  the  finest  imagination,  the  most 
delicate  taste,  the  sweetest  feeling,  and  the  rarest  artis¬ 
tic  skill — in  a  word,  a  sculptor  and  a  poet  too — could 
have  first  dreamed  of  a  Faun  in  this  guise,  and  then 
have  succeeded  in  imprisoning  the  sportive  and  frisky 
thing  in  marble.  Neither  man  nor  animal,  and  yet  no 
monster;  but  a  being  in  whom  both  races  meet  on 
friendly  ground!  The  idea  grows  coarse  as  we  handle 
it,  and  hardens  in  our  grasp.  But,  if  the  spectator 
broods  long  over  the  statue,  he  will  be  conscious  of  its 
spell;  all  the  pleasantness  of  sylvan  life,  all  the  genial 
and  happy  characteristics  of  creatures  that  dwell  in 
woods  and  fields,  will  seem  to  be  mingled  and  kneaded 
into  one  substance,  along  with  the  kindred  qualities  in 
the  human  soul.  Trees,  grass,  flowers,  woodland, 
streamlets,  cattle,  deer,  and  unsophisticated  man!  The 
essence  of  all  these  was  compressed  long  ago,  and  still 
exists  within  that  discolored  marble  surface  of  the  Faun 
of  Praxiteles. 

“And,  after  all,  the  idea  may  have  been  no  dream, 
but  rather  a  poet’s  reminiscence  of  a  period  when  man’s 


128 


GREEK  SCULPTURE. 


affinity  with  nature  was  more  strict,  and  his  fellowship 
with  every  living  thing  more  intimate  and  dear.” 


Obtained  from  the  ‘‘Atelier  de  Moulage”  of  the 
Museum  of  the  Louvre. 


GROUP  OF  THE  LAOCOON. 
Page  129. 


GREEK  SCULPTURE. 


129 


THE  GROUP  OF  THE  LAOCOON. 

The  original  of  this  celebrated  group,  now  in  the 
Vatican  Museum,  was  discovered  in  1506  in  the  ruins 
of  the  Baths  of  Titus,  at  Rome.  It  is  supposed  to  he 
the  joint  work  of  certain  Rhodian  sculptors,  who  lived 
in  the  third  century  B.  C.,  though  by  some  it  is  accred¬ 
ited  to  some  unknown  hand  of  a  later  date.  The  sub¬ 
ject  is  taken  from  one  of  the  tragic  incidents  of  the 
Trojan  war,  as  recounted  by  Virgil  in  the  second  book 
of  the  “AEneid.”  In  that  book  AEneas  is  telling  to 
Dido,  queen  of  Carthage,  the  story  of  the  fall  of  Troy. 
He  relates  how  the  Greeks,  after  a  ten  years’  siege,  being- 
unable  to  take  Troy  by  force,  resort  to  the  stratagem  of 
the  wooden  horse.  The  Trojans,  being  divided  in  sen¬ 
timent  as  to  the  treatment  of  the  horse,  are  urged  by 
Laocoon,  priest  of  Apollo  and  son  of  Priam,  king 
of  Troy,  to  destroy  it  as  an  uncanny  thing.  He  says 
he  fears  the  Greeks  even  bringing  gifts  ( Timeo  Danaos 
et  dona  ferentes )  and  goes  so  far  as  to  drive  his  spear 
into  the  side  of  the  horse  to  emphasise  his  opinion.  No 
sooner  has  he  done  so  than  a  scene  is  enacted  the  climax 
of  which  is  portrayed  by  the  sculptor  in  the  group 
here  shown.  The  story  can  best  be  told  in  the  follow¬ 
ing  translation  from  the  AEneid,  the  hero  of  the  epic  be¬ 
ing  himself  the  narrator : 

“Here  another  scene  and  far  more  terrible  is  pre¬ 
sented  to  our  sight  and  disturbs  our  breasts,  all  un- 


130 


GBEEK  SCULPTUKE. 


aware.  Laocoon,  Neptune’s  ordained  priest  by  lot,  was 
sacrificing  a  stately  bullock  at  the  altar,  set  apart  for 
that  high  service,  when,  lo,  from  Tenedos  (I  shudder  at 
the  relation),  two  serpents  with  great  eyes  bear  across  the 
sea,  and  with  equal  motion  shoot  forward  to  the  shore; 
whose  breasts,  erect  amidst  the  waves,  and  crests  drip¬ 
ping  with  blood,  tower  above  the  flood;  their  other 
parts  sweep  the  sea  behind,  and  their  spacious  backs 
wind  in  rolling  coils.  The  briny  ocean,  foaming,  gives 
forth  a  loud  noise  and  now  they  reached  the  shore, 
their  glaring  eyes  suffused  with  fire  and  blood,  while, 
with  quivering  tongues,  they  licked  their  hissing 
mouths.  Half  dead  at  the  sight,  we  all  fly  different 
ways.  They  with  resolute  motion  advance  toward  Lao¬ 
coon,  and  first  both  serpents,  with  close  embraces,  en¬ 
twine  themselves  around  the  little  bodies  of  his  two 
sons,  and  with  their  fangs  mangle  their  wretched  limbs. 
Next  they  seize  the  priest  himself,  coming  up  with 
weapons  to  their  relief,  and  bind  him  fast  in  their 
mighty  folds;  and  now  grasping  him  twice  about  the 
middle,  twice  winding  their  scaly  backs  around  his 
neck,  they  overtop  him  by  the  head  and  lofty  neck. 
He  strains  at  once  with  his  hands  to  tear  asunder  their 
knotted  coils,  while  his  fillets  are  stained  with  blood 
and  black  poison;  at  the  same  time  he  raises  hideous 
shrieks  to  heaven;  such  bellowing  as  when  a  bull  has 
fled  wounded  from  the  altar  eluding  with  his  neck  the 
missing  axe.  Meanwhile  the  two  serpents  glide  off  to 
the  high  temple  and  repair  to  the  fane  of  stern  Trito- 


GREEK  SCULPTURE. 


131 


nia  and  are  sheltered  under  the  feet  of  the  goddess  and 
the  orb  of  her  buckler.  Then,  indeed,  new  terror  dif¬ 
fuses  itself  through  the  quaking  hearts  of  all,  and  they 
pronounce  Laocoon  to  have  deservedly  suffered  for  his 
crime  in  having  violated  the  sacred  wood  with  his 
pointed  weapon,  and  hurled  his  profane  spear  against 
its  sides.” 

The  sequel  to  the  story  shows  how  the  Trojans  then 
dragged  the  horse  within  their  walls  in  fancied  triumph. 
That  night  the  Greeks  concealed  within  the  horse,  issued 
forth,  and  aided  by  their  companions,  who  had  se¬ 
cretly  returned  from  Tenedos,  captured  the  city,  and 
the  Trojan  war  was  ended. 

The  discovery  of  this  statue,  almost  perfect,  at  the 
time  when  the  reverence  for  antiquity  was  practically 
at  its  height  in  Italy,  created  a  great  sensation.  Michael 
Angelo  was  present  when  it  was  unearthed,  and  re¬ 
garded  it  as  a  marvel  of  art.  Just  after  the  group  had 
been  discovered  certain  Venetian  ambassadors  visited 
Eome  on  political  business,  and  upon  their  return 
home  submitted  to  their  government  a  general  report 
on  what  they  had  seen.  The  following  extract  from 
this  report  taken  from  Symond’s  “Renaissance  in 
Italy,”  will  be  of  interest: 

“The  Venetian  envoys,  however,  received  permission 
to  visit  this  portion  of  the  Vatican  palace,  and  the  sin¬ 
gle  entrance  was  unlocked  for  them.  After  describing 
the  beauty  of  the  gardens,  their  cypresses  and 
orangeries,  the  greenness  of  their  lawns  and  the  stately 


132 


GREEK  SCULPTURE. 


order  of  their  paved  avenues,  the  writer  of  the  report 
arrives  at  the  statues: 

“  ‘In  the  midst  of  the  garden  are  two  very  large  men 
of  marble  facing  one  another,  twice  the  size  of  life, 
who  lie  in  the  attitude  of  sleep.  One  of  these  is  the 
Tiber,  the  other  the  Nile,  figures  of  vast  antiquity; 
and  from  beneath  them  issue  two  fair  fountains.  On 
the  first  entrance  into  the  garden,  on  the  left  hand,  there 
is  a  kind  of  little  chapel  let  into  the  wall,  where  on  a 
pedestal  of  marble,  stands  the  Apollo,  famous  through¬ 
out  the  world,  a  statue  of  incomparable  beauty  and 
dignity,  of  life  size  and  of  finest  marble  [The  so-called 
Apollo  Belvedere].  Somewhat  farther  on,  in  a  similar 
alcove,  and  raised  on  a  like  pedestal  to  the  height  of  an 
altar  from  the  ground,  opposite  a  well  of  most  perfect 
fashion,  is  the  Laocoon,  celebrated  throughout  the 
world,  a  statue  of  the  highest  excellence,  of  size  like  a 
natural  man,  with  hairy  beard,  all  naked.  The  sinews, 
veins  and  proper  muscles  in  each  part  are  seen  as  well 
as  in  a  living  body;  breath  alone  is  wanting.  He  is  in 
a  posture  between  sitting  and  standing,  with  his  two 
sons,  one  on  either  hand,  both,  together  with  himself, 
twined  by  the  serpents,  as  Virgil  says.  And  herein  is 
seen  so  great  merit  of  the  artist  that  better  could  not 
be;  the  languishing  and  dying  are  manifest  to  sight, 
and  one  of  the  boys  on  the  right  side  is  most  tightly 
clipped  by  the  snake  twice  girdled  round  him;  one  of 
the  coils  crossing  his  breast  and  squeezing  his  heart,  so 
that  he  is  on  the  point  of  dying.  The  other  boy  on  the 


GREEK  SCULPTURE. 


133 


left  side  is  also  girdled  round  by  another  serpent. 
While  he  seeks  to  drag  the  raging  worm  from  his  leg 
with  his  little  arm  and  cannot  help  himself  at  all,  he 
raises  his  face,  all  tearful,  crying  to  his  father,  and 
holding  him  with  his  other  hand  by  the  left  arm.  And 
seeing  his  father  more  deadly  struck  than  he  is,  the 
double  grief  of  this  child  is  clear  to  view,  the  one  for  his 
own  coming  death,  the  other  for  his  father’s  helpless¬ 
ness;  and  he  so  faints  withal,  that  nothing  remains  for 
him  but  to  breathe  his  last.  It  is  impossible  that  hu¬ 
man  art  can  arrive  at  producing  so  great  and  natural  a 
masterpiece.  Every  part  is  perfect  except  that  La- 
ocoon’s  right  arm  is  wanting.  He  seems  about  forty 
years  of  age,  and  resembles  Messrs  Girolamo  Marcello 
of  S.  Tommaso;  the  two  boys  look  eight  and  nine  re¬ 
spectively.  Not  far  distant,  and  similarly  placed,  is  a 
very  beautiful  Venus  of  natural  size,  with  a  little 
drapery  on  her  shoulder,  that  covers  a  portion  of  her 
waist;  as  very  fair  a  figure  as  can  be  imagined  by  the 
mind;  but  the  excellence  of  the  Laocoon  makes  one 
forget  this  and  the  Apollo,  who  before  was  so  famous.” 


The  plaster  cast  here  exhibited  was  made  in  Paris 
from  moulds  in  the  possession  of  the  Museum  of  the 
Louvre. 


134 


GREEK  SCULPTURE. 


HEAD  OF  ZEUS. 

The  original  marble  head  of  Zeus,  of  which  this 
is  a  plaster  copy,  was  found  in  the  baths  of  Otricoli,  in 
Italy  and  is  now  to  be  seen  in  the  “Sala  Rotonda”  of 
the  Vatican  Museum.  It  is  supposed  to  be  a  faithful 
antique  copy  on  a  reduced  scale  of  the  head  of  the  most 
celebrated  statue  of  antiquity,  executed  by  Phidias, 
and  placed  in  the  temple  of  Zeus  (Jupiter)  at  Olympia 
in  the  Peloponnesus.  Like  the  Athena  in  the  Parthenon, 
already  described,  this  statue  was  of  ivory  and  gold, 
and  represented  the  benignant  father  of  gods  and  men 
seated  upon  a  richly  sculptured  throne,  adorned  with 
precious  stones,  gold,  ivory,  and  ebony.  It  was  the 
last  great  work  of  Phidias,  and  more  than  any  other 
creation  of  plastic  art  aroused  among  the  ancients  an 
admiration  amounting  to  reverence,  of  which  we  have  a 
record  in  the  accounts  which  have  come  down  to  us.  It 
survived  uninjured  for  nearly  nine  hundred  years  and 
was  destroyed  by  fire  in  the  fifth  century  after  Christ, 
when  the  temple  itself  was  also  burned.  At  Olympia 
the  remains  of  the  temple  can  still  be  seen. 

For  a  most  interesting  detailed  description  of  this 
statue  see  Liibke’s  “History  of  Art.” 


HEAD  OF  ZEUS. 
Page  134. 


HEAD  OF  THE  AI'OLLO  BELVEDERE. 
Page  135. 


HEAD  OF  THE  APOLLO  BELVEDERE. 
Page  135. 


GREEK  SCULPTURE. 


135 


HEAD  OF  THE  APOLLO  BELVEDERE. 

Tlie  original  full  length  figure,  in  marble,  this  being  a 
plaster  copy  of  the  head,  was  discovered  in  1503  at 
Porto  d’Anzio,  Italy,  the  ancient  Antium  (a  favorite  re¬ 
sort  of  the  earlier  Roman  Emperors)  and  was  removed 
by  Pope  Julius  II  to  the  Vatican  Museum,  where  it  is 
now  to  be  seen  in  the  Hall  of  Apollo.  The  author  and 
date  of  execution  of  this  work  are  both  matters  of  un¬ 
certainty  though  it  is  generally  assigned  to  the  fourth 
epoch  of  Greek  development  in  sculpture,  being, 
roughly  speaking,  the  period  between  the  death  of 
Alexander  the  Great  in  323  b.  c.  and  the  subjugation  of 
Greece  by  Rome  146  b.  c. 

The  generally  accepted  theory  now  is  that  the  so-called 
Apollo  Belvedere  is  itself  a  reproduction  of  some  earlier 
work,  similar  in  this  respect  to  the  Faun  of  Praxitiles. 
In  any  event  it  may  be  said  that  for  life,  vigor  and 
spirited  treatment  of  a  noble  subject  it  ranks  as  one  of 
the  great  plastic  creations  of  antiquity  that  has  sur¬ 
vived  to  the  present  day. 


136 


GREEK  SCULPTURE. 


THE  WRESTLERS. 

The  original,  in  marble,  of  this  interesting  group  is 
to  be  seen  in  the  so-called  Tribune,  in  the  Uffizi  Gal¬ 
lery  at  Florence.  The  Tribune  is  a  round  hall,  lighted 
from  above  through  delicately  toned  glass  and  contains 
many  of  the  masterpieces  of  the  gallery,  both  in  paint¬ 
ing  and  statuary,  being  one  of  the  few  rooms  in  any  of 
the  European  museums  where  this  combination  is  to  be 
found.  The  paintings  belong  to  the  period  of  the 
Italian  Renaissance,  while  the  statuary  is  exclusively 
Greek.  The  latter  encircle  the  hall  and  the  pieces  are 
five  in  number  as  follows:  Satyr  playing  on  a  Cymbal, 
Group  of  the  Wrestlers,  Venus  de  Medici,  The  Knife 
Grinder,  and  the  Apollino.  This  grouping  together  of 
the  art  of  the  painter  and  sculptor  produces  a  fine  ef¬ 
fect,  and  considering  the  celebrity  of  the  Tribune  it 
seems  odd  that  this  method  of  distributing  the  artistic 
treasures  of  the  museums  has  not  been  more  generally 
resorted  to. 

Various  conjectures  have  been  made  in  regard  to  “The 
Wrestlers.”  It  is,  however,  generally  recognized  as 
being  a  work  of  about  the  fourth  century  b.  c.,  and 
by  one  authority  has  been  attributed  with  some  confi¬ 
dence  to  one  of  the  sons  of  Praxitiles,  and  furthermore 
to  be  the  very  group  mentioned  by  Pliny  with  admira¬ 
tion  in  one  of  his  well-known  letters  which  has  sur¬ 
vived  to  the  present  day. 

It  has  been  much  restored. 

Obtained  from  the  “Atelier  de  Moulage,”  of  the 
Museum  of  the  Louvre.” 


BOY  EXTRACTING  A  THORN. 
Tage  137. 


PSYCHE  OF  CAPUA. 
Page  137, 


GREEK  SCULPTURE. 


137 


BOY  EXTRACTING  A  THORN. 

The  bronze  original  of  this  little  figure  is  one  of  the 
most  pleasing  of  all  the  works  of  its  kind,  and  is  among 
the  treasures  of  the  Palazzo  dei  Conservatori  on  the 
Capitoline  Hill  at  Rome.  Though  the  exact  date  of  its 
execution  is  unknown,  it  belongs  to  the  period  of  later 
antique  Greek  art,  probably  about  the  3d  Century,  B.  C., 
and  the  youth  has  therefore  doubtless  been  sitting  at 
his  self-appointed  and  never-fulfilled  task  of  extracting 
a  thorn  from  his  foot  for  something  over  two  thousand 
years. 


PSYCHE  OF  CAPUA. 

The  original  half  length  marble  figure,  of  which  this 
is  a  marble  reproduction  of  the  head,  is  to  be  seen  in 
the  Museum  at  Naples.  It  was  found  at  Capua,  a  town 
situated  between  Rome  and  Naples,  which  in  the 
earlier  days  of  the  Roman  Republic  almost  rivalled 
Rome  in  size  and  importance. 

The  sculptor  and  date  of  execution  of  the  Psyche  of 
Capua  are  unknown,  but  the  statue  is  recognized  as 
one  of  the  minor  masterpieces  of  Greek  art  and  is  sup¬ 
posed  to  date  from  the  4th  century,  b.  c.,  and  therefore 
to  belong  to  the  time  of  Praxitiles.  The  story  of  Cupid 
and  Psyche,  the  latter  being  typical  of  the  human  soul, 
is  taken  for  the  subject  of  one  of  the  pleasing  allegories 
of  the  later  classic  writers. 


138 


GREEK  SCULPTURE. 


In  the  marble  hall  of  the  villa  Carlotta,  at  Cadenabbia 
on  Lake  Como,  is  to  be  seen  the  celebrated  modern 
group  of  “Cupid  and  Psyche,”  by  Can  ova,  the  sculptor 
having  taken  the  moment  when  they  first  meet.  The 
villa  Carlotta  itself,  with  its  well  kept  and  extensive 
semi-tropical  gardens,  is  one  of  the  most  beautiful  of 
all  the  Italian  villas,  and  contains  the  original  of  the 
well-known  marble  reliefs  by  Thorwaldsen,  representing 
the  Triumph  of  Alexander. 


HERMES. 

Hermes,  the  Mercury  of  the  Roman  mythology,  was 
one  of  the  twelve  great -gods  of  Greece  and  was  the  son 
of  Zeus  (Jupiter)  and  the  nymph  Maia.  In  many  ways 
he  came  nearer  to  the  everyday  life  of  men  than  any 
of  the  gods,  and  there  is  something  in  his  attributes  so 
pleasing  that  he  inspires  a  certain  feeling  of  affection. 
He  was  the  messenger,  herald,  and  ambassador  of  the 
gods  and  the  lightness,  ease,  and  grace  of  his  move¬ 
ments,  combined  with  like  qualities  of  mind,  make  him 
always  an  attractive  figure  in  the  Greek  mythology. 

When  only  a  few  hours  old  his  youthful  activity  took 
the  form  of  stealing  the  oxen  of  Apollo,  but  being  im¬ 
mediately  found  out  and  about  to  be  haled  before  his 
father  for  punishment,  he  gracefully  restored  them  and 
presenting  his  brother  at  the  same  time  with  his  newly- 
invented  lyre,  as  a  peace-offering,  they  became  firm 
friends.  But  his  inventive  faculty  did  not  stop  with 


I-IERMES. 
Page  138. 


tiie  winged  victory  of  samothrace. 
Page  139. 


GREEK  SCULPTURE. 


139 


the  lyre  (made  on  the  spur  of  the  moment  by  appro¬ 
priating  the  shell  of  a  passing  tortoise  when 
making  off  with  his  brother’s  oxen)  for  to  Hermes 
we  are  also  indebted  for  the  alphabet,  the  science 
of  astronomy  and  numbers,  as  well  as  weights  and 
measures.  He  was  also  the  patron  saint  of  roads,  and 
the  sign  posts  scattered  along  the  ancient  highways 
were  surmounted  with  his  image.  He  presided  also 
over  the  gymnasium,  and  travellers  as  well  as  athletes 
looked  to  him  for  protection.  He  was  also  the  god  of 
commerce  and  of  barter  and  traffic,  and  in  all  dealings 
among  the  merchants  his  name  was  invoked.  He  was 
also  the  bringer  of  dreams,  and  that  the  lighter  ele¬ 
ments  of  his  character  might  be  steadied  by  more  seri¬ 
ous  employment,  to  Hermes  was  assigned  the  duty  of 
conducting  the  souls  of  the  departed  across  the 
gloomy  Styx. 

He  was,  therefore,  taken  altogether,  a  very  versatile 
god,  and  in  one  form  or  another  was  a  favorite  subject 
among  the  sculptors. 


The  marble  bust,  with  the  winged  cap  here  shown,  is 
a  copy  of  one  of  the  many  antique  representations  that 
have  come  down  to  us. 

WINGED  VICTORY  OF  SAMOTHRACE. 

Of  all  the  archaeological  discoveries  of  this  genera¬ 
tion,  the  Winged  Victory  of  Samothrace,  and  the 


140 


GREEK  SCULPTURE. 


Hermes  of  Praxitiles,  are  considered  the  most  impor¬ 
tant  in  the  world  of  art. 

The  island  where  this  statue  was  found,  and  from  which 
it  takes  its  name,  lies  off  the  northwest  coast  of  Asia 
Minor,  and  in  ancient  times  was  the  site  of  a  temple 
much  resorted  to  from  the  mainland.  Here  it  was  that 
in  1863  the  scattered  fragments  of  the  Victory  were  dis¬ 
covered,  and  three  years  later  brought  to  Paris.  About 
the  same  time,  in  the  same  locality,  a  coin  was  found 
bearing  the  stamp  of  a  female  figure,  with  flowing 
drapery,  standing  on  the  prow  of  a  vessel  blowing  a 
trumpet.  The  coin  was  identified  as  having  been 
struck  in  the  year  306  B.  C.  in  commemoration  of  a  cer¬ 
tain  naval  victory,  recorded  in  history,  and  it  was  then 
recognized  that  the  large  and  apparently  valueless 
fragments  of  marble  left  behind  on  the  site  of  the 
original  discovery  might  well  belong  to  the  statue 
itself.  It  was  not,  however,  till  1875,  that  all 
the  fragments  had  been  collected  and  transported  to 
Paris  and  put  together  in  the  Museum  of  the 
Louvre,  where  this  magnificent  example  of  one  of  the 
best  periods  of  Greek  art  now  stands  at  the  head  of  the 
staircase  leading  to  the  picture  galleries.  In  the  plas¬ 
ter  cast  here  shown  we  have  only  a  miniature  reproduc¬ 
tion  of  the  figure  itself.  The  original  marble  in  the 
Louvre,  including  also  the  prow  of  the  trireme  on 
which  the  Victory  stands,  is  about  twice  the  size  of  life. 
The  character  of  the  work,  combined  with  the  evidence 
furnished  by  the  coin  above  referred  to,  fixes  the  date 


GREEK  SCULPTURE. 


141 


of  the  execution  of  the  statue  as  of  the  end  of  the  fourth 
century  B.  C.,  and  assigns  it  to  the  school  of  Skopas, 
who  shares  with  Praxitiles,  his  younger  contemporary, 
the  honors  of  the  third  great  period  of  Greek  develop¬ 
ment  in  the  world  of  plastic  art,  ranging  from  the  time 
of  the  death  of  the  immediate  successors  of  Phidias  to 
the  time  of  the  death  of  Alexander  the  Great,  a  period 
of  about  a  hundred  years.  Comparing  the  Winged 
Victory  with  the  most  important  creations  of  the  pre¬ 
ceding  age  of  Phidias,  we  can  note  the  change  that  has 
come  over  the  ideals  and  aspirations  of  the  sculptor. 
The  repose  and  dignity  of  the  Athena  of  the  Parthenon 
and  of  the  Olympian  Zeus  now  give  way  to  the  life  and 
movement  of  the  Victory  of  Skopas,  or  to  the  ease  and 
grace  of  the  Faun  of  Praxitiles,  for  while  the  Greek 
mind  still  retained  extraordinary  vigor  and  originality, 
these  sculptors,  both  following  and  leading  in  the 
change  of  taste  and  manners  that  had  overtaken  the 
Greeks,  sought  expression  for  their  art  in  a  less  heroic 
form  than  had  characterized  the  Phidian  age.  For  the 
purpose  of  illustration,  let  the  visitor  look  at  the  head 
of  the  Olympian  Zeus,  shown  here  in  this  collection, 
and  create  for  himself,  however  imperfectly,  an  appro¬ 
priate  body  for  such  a  head,  and  by  a  like  process 
create  a  head  for  the  Victory.  Then  let  him  mentally 
compare  the  two  completed  statues,  and  he  will  at  once 
recognize  the  difference  between  the  calm  dignity  of 
the  one  and  the  graceful  movement  of  the  other,  and 
in  that  recognition  will  appreciate  how  this  difference 


142 


GREEK  SCULPTURE. 


in  the  conception  and  execution  of  a  work  of  art  is  in 
itself  typical  of  the  change  that  had  come  over  the 
whole  community  in  other  directions  than  those  im¬ 
mediately  related  to  art. 

NARCISSUS  OR  “TEE  ECHO.” 

The  bronze  statuette,  of  which  this  is  a  copy  of  the 
same  size  as  the  original,  is  one  of  the  most  pleasing  of 
all  the  works  of  its  kind  that  has  come  down  to  us.  It 
was  discovered  about  forty  years  ago  standing  upon  a 
vat  in  a  soap  boiler’s  establishment,  at  that  time  un¬ 
earthed  at  Pompei,  where,  in  the  darkness  of  the 
house,  covered  with  the  ashes  of  Vesuvius,  the  hoy 
had  stood  for  eighteen  centuries,  then  as  now  silently 
awaiting  the  responsive  note  to  the  echo  which  never 
came.  Of  its  history  we  know  nothing,  but  that  such 
a  work  should  have  been  found  in  such  a  place,  even 
though  only  left  there  in  the  hurry  of  flight  from  the 
doomed  city,  indicates  how  widely  diffused  was  the  love 
of  art  among  all  classes  of  the  people  in  ancient  times. 

The  original  is  in  the  Museum  of  Naples. 


NARCISSUS  OR  "THE  ECHO." 
Page  1-P2. 


ANCIENT  HISTORICAL  BUSTS. 


MARCUS  AURELIUS.  JULIUS  CAESAIi.  CALIGULA. 


HOMER. 
Page  145. 


HOMER. 


The  date  and  place  of  his  birth  are  uncertain,  and 
even  his  individuality  has  been  questioned,  though 
according  to  the  most  trustworthy  critics,  without 
success. 

He  is  supposed  to  have  been  born,  of  Greek  parentage, 
in  Smyrna,  Asia  Minor,  or  in  the  Greek  island  of  Chios, 
and  to  have  flourished  about  900  b.  c.,  thus  being  almost 
a  contemporary  of  David  and  Solomon,  though  of  a 
little  later  date.  The  original  of  this  bust  is  in  the 
British  Museum,  and  was  found  in  the  ruins  of  Baiae 
on  the  Bay  of  Naples,  in  the  year  1780.  It  probably 
adorned  the  villa  of  some  Roman  citizen,  as  Baiae  was 


146 


ANCIENT  HISTORICAL  BUSTS. 


one  of  the  most  celebrated  of  the  watering  places  of 
ancient  Rome.* 

It  was  a  recognized  fact  in  antiquity  that  there  was 
no  authentic  portrait  of  Homer  of  any  kind  and  the 
busts  that  have  come  down  to  us,  unlike  most  of  the 
marble  portraits  of  the  Greek  and  Roman  periods, 
represent  simply  the  sculptor’s  ideal.  Homer  was  the 
greatest  epic  poet  of  antiquity  and  is  still  considered 
the  greatest  of  all  time.  He  is  supposed  to  have  been 
blind  and  to  have  wandered  from  place  to  place  reciting 
his  verses.  He  was  the  author  of  many  poems  but  the 
“Iliad”  and  “Odyssey,”  with  some  fragments  of  other 
poems,  are  the  only  works  of  his  that  have  come  down 
to  us. 

“Seven  Grecian  cities  claim  great  Homer  dead 

Through  which  the  living  Homer  begged  his  bread.  ’  ’ 

His  poems  have  been  frequently  translated  into  Eng¬ 
lish.  Among  others  are  the  translations  of  Chapman 
(time  of  Elizabeth),  Pope,  Cowper,  Gladstone  and 
William  Cullen  Bryant. 

PERICLES. 

The  original  of  this  bust  is  in  the  British  Museum. 
It  is  supposed  to  be  a  Greco-Roman  copy  of  an  original 

*The  glory  of  Baiae  has  departed,  a  few  ruins  here  and  there  alone 
marking  the  spot.  Julius  Caesar,  Pompey,  Marius,  Cicero,  the  Emperor 
Nero  and  many  other  celebrated  men  of  the  Roman  Republic  and  Em¬ 
pire  had  country  houses  at  Baiae,  and  the  ruins  of  some  of  these  are 
still  somewhat  doubtfully  pointed  out.  Its  modern  counterpart,  though 
differing  in  many  ways,  is  Sorrento,  on  the  opposite  side  of  the  bay. 


PERICLES. 
Pago  146. 


ANCIENT  HISTOKICAL  BUSTS. 


147 


Greek  work  of  the  fifth  century,  b.  c.,  executed  during 
the  life-time  of  Pericles.  It  was  found  in  the  ruins  of 
the  villa  of  Cassius  at  Tivoli,  near  Rome,  in  1781. 

Pericles  was  the  most  distinguished  of  Athenian 
statesmen.  The  exact  date  of  his  birth  is  unknown, 
but  he  grew  up  in  the  midst  of  the  stirring  times  inci¬ 
dent  to  the  defeat  of  the  Persians  by  the  Greeks  at 
Salamis  (480  b.  c.)  and  was  probably  born  even  before 
the  heroic  battle  of  Marathon  (490  b.  c.).  His  death 
occurred  429  b.  c.  He  was  the  leader  of  the  popular 
party  at  Athens  and  throughout  his  long  public  career 
successfully  opposed  the  pretensions  of  the  aristocratic 
faction.  Through  his  eloquence,  his  commanding  char¬ 
acter,  his  talents  and  his  devotion  to  the  interests  of 
his  country  he  became  the  unquestioned  leader  of  the 
dominant  democracy. 

The  “Age  of  Pericles”  represents  the  most  brilliant 
period  of  intellectual  and  artistic  development,  both  of 
ancient  and  modern  times,  and  is  recognized,  so  far  as 
it  can  be  limited  by  exact  dates,  as  the  period  between 
460  and  430  b.  c.  During  the  lifetime  of  Pericles  flour¬ 
ished  Socrates,  the  philosopher,  and  Phidias,  the  sculp¬ 
tor,  architect  and  painter,  the  Michael  Angelo  of  anti¬ 
quity.  Under  the  general  supervision  of  Phidias,  the 
Parthenon,  which  is  still  recognized  as  the  most  perfect 
of  architectural  creations,  was  built  and  adorned,  be¬ 
sides  many  other  public  buildings  which  made  of  Athens 
the  most  beautiful  city  of  the  world.  During  the  “Age 
of  Pericles,”  or  immediately  succeeding  it,  flourished 


148 


ANCIENT  HISTORICAL  BUSTS. 


many  other  men  of  the  greatest  eminence  in  almost 
every  field  of  intellectual  activity,  many  of  whose 
works  have  come  down  to  us.  Under  the  leadership  of 
Pericles  Athens  attained  her  highest  point  of  glory  in 
both  war  and  peace  and  became  the  leading  state  of 
Greece. 

The  high  helmet  here  shown  in  the  bust  was  sup¬ 
posed  to  have  been  worn  by  Pericles  to  conceal  an  un¬ 
usual  length  of  head,  a  physical  defect  mentioned  both 
by  Plutarch  and  the  Athenian  comic  poets. 


Caius  Octavius, 

after  his  adoption  by  his  great  uncle,  Julius  Caesar, 

known  as 

Caius  Julius  Caesar  Octavianus, 
and  later  when  Emperor  of  Rome  as 

CiESAR  AUGUSTUS 
b.  c.  63  to  a.  d.  14. 

The  long  reign  of  Caesar  Augustus,  b.  c.  31  to  a.  d. 
14,  represents  the  most  brilliant  period  of  the  Roman 
Empire.  It  was  near  the  close  of  his  reign  that  Christ 
was  born.  Augustus  therefore  was  the  Emperor  from 
whom  went  forth  the  decree  that  “all  the  world  should 
be  taxed”  (St.  Luke  2:1). 

At  the  time  of  the  assassination  of  Julius  Caesar  (b. 
c.  44)  Octavius,  being  then  nineteen  years  old  and  the 
recognized  heir  of  his  great  uncle  Julius,  was  pursuing 


r.Il'l-:  SIZE  REPRODUCTION  IN  MARBLE  OF  THE  SO-CALLED  “PltliMA  PORTA 

Augustus.”  The  original  is  in  the  Gallery  of  the  Vatican. 

Page  14S. 


ANCIENT  HISTORICAL  BUSTS. 


149 


his  studies  and  learning  the  art  of  war  in  Illyria,  a  Ro¬ 
man  province  to  the  north  of  Greece.  Hurrying  to 
Rome  he  found  Mark  Antony,  then  about  forty  years 
of  age,  in  possession  and  determined  to  maintain  him¬ 
self.  The  young  Augustus  was  then,  as  at  all  times 
during  his  eventful  career,  equal  to  the  occasion,  and 
drove  Antony  from  Rome. 

Then  followed  a  reconciliation,  when  Octavius  and 
Antony  (with  Lepidus),  representing  the  Imperial  party, 
combined  against  Brutus  and  Cassius  who  sought  to 
maintain  the  Republic.  The  defeat  of  the  latter  at 
Philippi  (b.  c.  42)  left  the  former  masters  of  the  civil¬ 
ized  world  which  they  proceeded  to  divide  between 
them.  Later  quarrels  developing,  Octavius  defeated 
Antony  at  the  great  sea  fight  of  Actium  (b.  c.  31)  and 
thus  became  sole  ruler  of  the  Roman  world.  Practi¬ 
cally  absorbing  within  himself  by  degrees  the  execu¬ 
tive,  legislative  and  judicial  functions  of  the  State,  as 
well  as  those  incident  to  his  later  office  of  High  Priest, 
and  backed  by  the  army,  of  which  he  was  commander 
in  chief,  he  established  on  a  permanent  basis  the  sys¬ 
tem  inaugurated  by  Julius  Caesar  and  (while  retaining 
the  old  Republican  forms  and  a  certain  personal  sim¬ 
plicity  of  life)  became  the  embodiment  of  the  Imperial 
idea  and  has  ever  since  remained  so.* 

*The  closest  modern  counterpart  of  the  Caesars  is  the  Czar  of  Russia. 
The  possession  of  Constantinople  by  the  Russians  and  the  assumption 
of  a  practical  protectorate  by  Russia  over  the  Turkish  dominions  would 
closely  assimilate  Russia  to  the  Eastern  Roman  Empire. 


150 


ANCIENT  HISTORICAL  BUSTS. 


The  Roman  world,  wearied  with  the  turmoils  and  con¬ 
tentions  of  the  preceding  half  century  or  more,  accepted 
the  sway  of  Augustus  without  question,  and  seeing  the 
civilized  world,  for  the  first  time  in  history,  in  a  state 
of  profound  peace  and  prosperity  under  a  single  ruler, 
became  convinced  of  the  necessity  of  such  a  form  of 
government.  So  strong  did  this  sentiment  become  that 
even  during  his  lifetime  altars  and  temples  were  erected 
in  his  name  and  divine  honors  were  paid  him.  The 
month  of  August  was  named  after  him  at  that  time  and 
has  retained  its  name  ever  since. 

The  “Augustan  Age”  was  the  most  brilliant  period 
of  Roman  Literature.  The  poets  Virgil,  Horace,  and 
Ovid,  and  the  historian  Livy  all  lived  and  wrote  at 
Rome  during  this  time,  and  were  the  close  personal 
friends  of  the  Emperor  and  his  great  minister  of  State, 
Macsenas. 

The  two  busts  here  shown  are  authentic  portraits  of 
the  period,  the  originals  being  still  in  Rome.  The 
smaller  one  represents  Augustus  at  the  age  of  fourteen, 
and  the  earnest,  thoughtful  look  of  the  boy  is  one  of 
the  finest  things  in  marble  that  has  come  down  to  us 
from  that  period.  The  larger  bust  represents  him  after 
he  had  become  Emperor,  and  is  taken  from  a  full  length 
figure,  the  original  of  which  is  in  the  Vatican  at  Rome. 

The  story  of  the  struggle  of  Augustus  for  supreme 
power  can  be  studied  with  great  interest  not  only  in  the 
histories  of  the  time  but  also  in  Shakespeare’s  plays 
“Julius  Csesar”  and  “Antony  and  Cleopatra.” 


TIBERIUS  CAESAR. 

(42  B.C.— 37  A.D.) 

The  original  of  this  marble  reproduction  is  in  the  Hall  of  Augustus  in 
the  Museum  of  the  Louvre. 

Pago  151. 


ANCIENT  HISTORICAL  BUSTS. 


151 


TIBERIUS  CAESAR. 

(42  b.  c.-37  a.  d.) 

Tiberius  Caesar,  second  Emperor  of  Rome  and  stepson 
of  Caesar  Augustus,  is  one  of  the  most  interesting  figures 
in  history,  and  doubly  so  to  us  as  the  man  who,  at  the 
time  of  Christ,  ruled  the  destinies  of  the  Roman  Empire. 
The  peaceful  reign  of  Augustus  had  settled  in  the 
minds  of  men  as  an  unquestionable  fact  that  the  Roman 
world  could  be  safely  governed  by  but  one  imperial  will, 
and  to  Tiberius  was  confided  the  awful  responsibility 
incident  to  the  position  of  sole  ruler  of  that  vast  consoli¬ 
dated  net  work  of  civilized  and  semi-civilized  com¬ 
munities  whose  final  appeal  for  justice  must  be  to 
Caesar  alone.  Of  all  the  members  of  the  imperial  house¬ 
hold  he  was  the  best  equipped  for  the  task.  His  train¬ 
ing  had  been  of  the  most  thorough  kind — from  liis> 
youth  up  he  had  successfully  commanded  the  armies  of 
Rome,  and  been  employed  in  the  most  responsible  civil: 
positions,  and  his  conduct  had  justified  his  selection. 
When  upon  the  death  of  Augustus,  14  a.  d.,  he  was* 
called  upon  to  assume  the  supreme  direction  of  affairs, 
he  was  fifty-six  years  of  age.  His  mother  was  Livia, 
second  wife  of  Augustus,  a  woman  whose  talents, 
ambition,  intrigues  and  exalted  station  at  one  of  the 
most  conspicuous  periods  of  history  have  made  her 
name  a  familiar  one  in  the  annals  of  Rome.  The  real 
character  of  Tiberius  has  always  been  an  enigma  to 
historians,  but  of  the  high  order  of  his  intellectual 


152 


ANCIENT  HISTORICAL  BUSTS. 


capacity  there  is  no  doubt.  He  set  for  himself  the  task 
of  consolidating  the  imperial  system  inherited  from  his 
predecessor,  and  so  far  as  the  Empire  at  large  was  con¬ 
cerned,  the  verdict  of  history  has  set  upon  his  adminis¬ 
tration  the  seal  of  success.  In  his  own  household 
occurred  many  scandalous  and  disgraceful  events,  and 
the  tyranny  and  cruelty  displayed  by  him  and  his 
ministers  of  state  within  the  circle  of  their  immediate 
surroundings  have  left  an  ineffaceable  stain  upon  his 
memory.  Tiberius  was  a  silent,  self-reliant  man,  and 
with  a  certain  intuitive  grasp  of  a  situation  that, 
penetrating  all  disguises,  made  him  feared  and  hated 
by  so-called  friends  and  enemies  alike.  Master  himself 
to  an  extraordinary  degree  of  the  art  of  dissimulation, 
no  one  could  ever  tell  what  his  real  opinion  might  be, 
except  to  know  that  what  his  interest  dictated  that  he 
would  do.  His  cold,  clear,  calculating  intellect  domi¬ 
nated  the  fierce  factions  of  his  household,  and  he  stands 
the  very  embodiment  of  the  imperial  idea. 

When  an  old  man  his  contempt  for  the  servility  of 
public  life  and  general  disgust  with  his  surroundings 
led  him  to  retire  from  the  world,  and  he  shut  himself 
up  in  the  island  of  Capri,  in  the  bay  of  Naples.  Here 
he  built  a  palace,  the  ruins  of  which  are  still  to  be  seen, 
and  it  is  curious  how  to  this  day  the  traditions  of 
Tiberius  seem  to  hover  like  an  uncanny  spell  over  that 
beautiful  island.  At  Capri  were  passed  the  last  eleven 
years  of  his  life,  for  him  a  period  of  brooding  melan¬ 
choly,  for  there  it  was,  as  Pliny  says,  that  he  became 


TRAJAN, 


HADRIAN 


ANCIENT  HISTORICAL  BUSTS. 


153 


“the  gloomiest  of  mankind.”  It  was  during  this  sad 
period  of  his  career  that  the  stories  of  his  many  crimes, 
cruelties  and  debaucheries  are  told,  which,  in  popular 
remembrance,  most  cling  around  his  memory.  To 
Suetonius  we  owe  the  revolting  account  of  the  last 
years  of  the  Emperor.  This  author,  (who  was  private 
secretary  to  the  Emperor  Hadrian)  two  or  three  gener¬ 
ations  after  the  death  of  Tiberius,  wrote  a  history  of 
the  First  Twelve  Caesars,  but  he  belonged  to  the  sen¬ 
sational  rather  than  to  the  philosophic  order  of  his¬ 
torians,  and  just  how  far  his  lurid  tales  are  to  be 
believed  is  very  questionable.  It  seems  impossible 
that  Tiberius  should  have  continued  to  rule  the  Empire, 
with  the  firm  hand  he  is  known  to  have  exercised,  from 
the  seclusion  of  such  debauchery  as  this  historian  de¬ 
scribes. 

Wasted  with  disease,  the  Emperor  died  in  the  year 
37  a.  d.  In  his  last  illness,  showing  some  signs  of 
recovery,  he  was  smothered  to  death  by  Macro,  his 
chief  minister  of  state  who  had  succeeded  the  still 
more  infamous  Sejanus,  executed  by  an  order  of 
Tiberius  issued  from  his  retreat  at  Capri.  Though  the 
fall  of  Sejanus  stirred  far  and  wide  the  Roman  world 
of  the  time,  there  was  enacted  almost  simultaneously 
another  scene  in  the  far-off  province  of  Judea  of 
transcendent  import  to  the  human  race.  Doubt¬ 
less  unnoticed  except  as  one  of  the  many  pass¬ 
ing  local  events  necessarily  incident  to  the  government 
of  a  vast  empire,  where  provincial  factions  strove  for 


154 


ANCIENT  HISTORICAL  BUSTS. 


the  mastery,  occurred  the  crucifixion  of  Christ.  That 
Pontius  Pilate  considered  it  a  subject  of  sufficient  im¬ 
portance  to  transmit  an  account  of  it  to  his  imperial 
master  at  Capri  is  a  matter  for  conjecture  only.* 

Tiberius  left  no  descendants  living  at  the  time  of  his 
death,  and  was  succeeded  by  Caligula.  By  order  of 
Augustus  he  had  unwillingly  divorced  his  first  wife 
and  married  Julia,  of  infamous  memory,  daughter  of 
the  Emperor  and  widow  of  Marcus  Agrippa,  the  man 
who  built  the  Pantheon  at  Rome. 


The  bust  of  Tiberius  here  shown  was  made  from  an 
antique  marble  bust  still  to  be  seen  in  the  Hall  of 
Augustus  in  the  Museum  of  the  Louvre  at  Paris. 


♦During  the  first  century  of  our  era  the  Roman  writers  not  un¬ 
naturally  regarded  the  Christians  as  only  an  additional  sect  among 
the  already  factious  and  turbulent  Jews.  After  the  great  fire  which, 
during  the  reign  of  Nero,  almost  entirely  destroyed  Rome,  in  the 
year  64,  a  general  belief  prevailed  that  the  Emperor  himself  had 
been  the  author  of  the  conflagration.  To  avert  suspicion  from  him¬ 
self,  Nero,  in  looking  around  for  a  scapegoat,  accused  the  Chris¬ 
tians,  and  a  generation  later  Tacitus,  in  his  Annals,  in  relating  the 
history  of  the  fire,  gives  the  following  very  interesting  account  of 
our  religion  as  seen  through  the  eyes  of  an  eminent  Roman  his¬ 
torian  who,  though  unprejudiced  through  malice,  had  not  considered 
the  doctrines  of  Christianity  as  of  sufficient  importance  to  require 
an  examination.  The  opinions  expressed  by  him  in  the  following 
extract  may  therefore  be  reasonably  regarded  as  the  currently  ac¬ 
cepted  estimate  of  Christianity  among  the  educated  Romans  of  the 
end  of  the  first  century:  “Hence,  to  suppress  the  rumor,  he 
(Nero)  falsely  charged  with  the  guilt,  and  punished  with  the  most 


ANTONINUS  PIUS. 


ANCIENT  HISTORICAL  BUSTS. 


155 


exquisite  tortures,  the  persons  commonly  called  Christians,  who 
were  hated  for  their  enormities.  Christus,  the  founder  of  the  sect, 
was  put  to  death  as  a  criminal  by  Pontius  Pilate,  procurator  of 
Judea,  in  the  reign  of  Tiberius;  but  the  pernicious  superstition, 
repressed  for  a  time,  broke  out  again,  not  only  through  Judea, 
where  the  mischief  originated,  but  through  the  city  of  Rome  also, 
whither  all  things  horrible  and  disgraceful  flow,  from  all  quarters, 
as  to  a  common  receptacle,  and  where  they  are  encouraged.  Ac¬ 
cordingly,  first  those  were  seized  who  confessed  they  were  Chris¬ 
tians;  next,  on  their  information,  a  vast  multitude  were  convicted,* 
not  so  much  on  the  charge  of  burning  the  city,  as  of  hating  the 
human  race.  And  in  their  deaths  they  were  also  made  the  sub¬ 
jects  of  sport,  for  they  were  covered  with  the  hides  of  wild 
beasts,  and  worried  to  death  by  dogs,  or  nailed  to  crosses,  or  set 
fire  to,  and  when  day  declined,  burnt  to  serve  for  nocturnal 
lights.  Nero  offered  his  own  gardens  for  that  spectacle,  and 

exhibited  a  Circensian  game,  indiscriminately  mingling  with  the 

common  people  in  the  habit  of  a  charioteer,  or  else  standing  in 
his  chariot.  Whence  a  feeling  of  compassion  arose  toward  the 
sufferers,  though  guilty  and  deserving  to  be  made  examples  of 

by  capital  punishment,  because  they  seemed  not  to  be  cut  off  for 
the  public  good,  but  victims  to  the  ferocity  of  one  man.” 

Following  the  accepted  chronology  of  his  life,  St.  Paul  was 

doubtless  in  Rome  at  the  time  of  the  fire  and  during  the  subse¬ 
quent  terrible  events  above  recounted,  and  the  exact  date  of  his 
death  being  unknown,  it  has  been  reasonably  conjectured  that 

he  fell  a  victim  to  this  first  persecution  of  the  Christians.  In 
the  preceding  reign  of  Claudius  the  Jews  had  been  driven  out  of 
Rome  as  a  disturbing  element,  and  also  the  Christians,  on  the 

ground  that  there  was  no  practical  distinction  between  them,  the 

difference  being  apparently  first  publicly  recognized  in  the  time 
of  Nero,  an  unconscious  tribute  to  the  labors  of  St.  Paul,  the 
Apostle  of  the  Gentiles. 

It  may  here  be  incidently  noted  that  at  this  very  time  the 
destruction  of  Jerusalem  was  impending.  Rent  by  civil  and 


156 


ANCIENT  HISTORICAL  BUSTS. 


ANTINOUS. 

Antinous,  the  page  and  favorite  of  the  Roman 
Emperor  Hadrian  (117-138  A.  D.)  was  the  constant 
companion  of  the  Emperor  in  his  almost  continuous 
travels  through  the  Empire.  He  was  drowned  in  the 
Nile  122  A.  D.  The  extravagant  grief  of  Hadrian  upon 
the  death  of  Antinous  found  expression  in  the  many 
statues  and  bas-reliefs  which  he  caused  to  be  made  of 
his  youthful  friend.  In  Egypt  and  Greece  even  temples 
were  erected  in  his  honor,  and  he  was  enrolled,  by  im¬ 
perial  decree,  among  the  gods.  The  story  of  Antinous 
illustrates  the  religious  degradation  of  the  Roman 
world  in  the  second  century  after  Christ,  then  beginning 
to  be  so  powerfully  influenced  by  the  rapid  spread  of 
Christianity. 

“In  all  figures  of  Antinous  the  face  has  a  rather 
melancholy  expression ;  the  eyes  are  large,  with  fine 
outlines;  the  profile  is  gently  sloped  downwards,  and 
the  mouth  and  chin  are  especially  beautiful.  ’  ’ 

The  above  quotation  is  from  Winckelmann  (1717- 
1767),  the  first  great  modern  historian  of  classic  art. 


The  original  of  the  marble  bust  here  shown  is  in  the 
Capitol  at  Rome,  and  represents  the  Roman  ideal  of 
youthful  manly  beauty. 


religious  factions,  anarchy  reigned  in  Judea  and  the  Roman 
general  Titus,  afterwards  Emperor,  laid  seige  to  Jerusalem,  and 
after  one  of  the  most  desperate  defenses  on  record,  captured  the 
city  in  the  year  70  a.  d.  The  Temple  was  at  that  time 


ANTI  NOUS. 
I’age  15G. 


ANCIENT  HISTORICAL  BUSTS. 


157 


destroyed,  and  from  this,  and  the  immediately  subsequent  period, 
is  dated  the  annihilation  of  the  Jews  as  a  separate  nationality,  and 
their  dispersion  throughout  the  world.  With  what  extraordinary 
tenacity  of  character  and  purpose  this  marvellous  race  has 
survived  the  endless  shock  and  change  of  time  and  circumstance 
is  within  the  knowledge  and  experience  of  all. 


COMMODUS. 


RENAISSANCE  SCULPTURE. 


MADONNA  AND  CHILD. 


Mi  NO  L)A  Fiesoi.e. 
Page  IGo. 


RENAISSANCE  SCULPTURE. 


In  the  fifteenth  and  sixteenth  centuries  there  arose  in 
Italy,  more  particularly  in  Tuscany,  a  group  of  sculptors 
who  executed  works  of  great  tenderness  and  beauty. 

Following  the  sentiment  of  the  period  their  plastic 
productions  were  mostly  in  the  field  of  religious  art, 
largely  represented  by  decorative  sculptures  executed 
for  tombs  and  altars,  and  as  adornments  for  the  walls 
and  doorways  of  the  churches  and  cathedrals.  The 
work  was  done  in  marble,  bronze,  and  terra  cotta,  and 
practically  all  of  it  has  survived  to  our  own  time. 

It  often  happens  that  some  of  the  most  beautiful  of 
these  productions  are  to  be  found  in  more  or  less  un¬ 
frequented  localities,  and  their  discovery  by  the  curious 
traveller  is  one  of  the  great  charms  of  a  tour  through 
Italy. 


162 


RENAISSANCE  SCULPTURE. 


Among  the  more  interesting  of  these  minor  sculptors, 
whose  art  was  almost  entirely  of  a  religious  or  monumen¬ 
tal  character,  sometimes  introducing  the  portrait  of  the 
deceased  to  surmount  the  tomb,  were  Mino  da  Fiesole, 
Antonio  Rossellino,  Benedetto  da  Maiano;  and,  work¬ 
ing  in  terra  cotta,  Luca  and  Andrea  della  Robbia. 
Copies  of  the  work  of  all  the  above  sculptors  are  shown 
here  at  Southampton. 

In  addition  to  more  important  creations,  Michael 
Angelo  and  Donatello  have  left  examples  of  this  style 
of  composition,  and  a  Madonna  and  Child  by  the 
former,  and  a  little  St.  John  by  the  latter,  are  here  ex¬ 
hibited,  the  one  in  plaster  and  the  other  in  a  marble 
reproduction. 

As  pointed  out  in  the  preceding  short  article  on 
Greek  sculpture,  the  Renaissance  period  differs  from  the 
Greek  in  containing  an  element  of  spirituality  impossi¬ 
ble  to  the  latter,  owing  to  the  difference  in  ideals 
essentially  inherent  in  aspirations  founded  on  motives 
so  totally  at  variance  one  with  the  other. 

That  the  Italian  genius  could  compete  with  the  Greek 
in  its  own  field  is  shown,  however,  in  those  works  of 
Michael  Angelo  which  are  outside  the  domain  of  religi¬ 
ous  art. 

At  present  this  collection  contains  no  example  of  this 
later  period  of  the  development  of  the  genius  of  the 
great  Italian. 


ST.  JOHN. 
Donatello. 
Page  163. 


MADONNA  AND  CHILD. 
Luca  della  Robbia. 
Page  163. 


RENAISSANCE  SCULPTURE. 


163 


DONATELLO. 

(1386-1166.) 

Donato  Bardi,  called  Donatello,  born  at  Florence  in 
1386,  is  generally  recognized  as  second  to  Michael  An¬ 
gelo  alone  among  the  sculptors  of  the  Renaissance. 
He  has  left  many  examples  of  his  work,  to  be  found 
mostly  in  the  churches  and  museums  of  Italy.  His  St. 
George  has  been  described  as  “the  finest  personifica¬ 
tion  of  a  Christian  hero  ever  wrought  in  marble.” 

The  original  bas-relief  of  the  young  St.  John,  of 
which  this  is  a  marble  copy,  is  in  dark  stone,  and 
is  now  to  be  seen  in  The  Bargello  (National  Museum), 
at  Florence. 


LUCA  DELLA  ROBBIA. 

(1100-1181.) 

Of  the  numerous  members  of  the  della  Robbia  fam¬ 
ily  who  achieved  distinction  as  sculptors,  Luca  was 
the  eldest  and  best  known.  Though  he  executed  work 
in  marble  and  bronze,  his  fame  rests  chiefly  upon  his 
glazed  terra-cotta  work,  wherein  he  confines  himself 
almost  entirely  to  the  domain  of  religious  art. 

His  original  works  are  very  numerous,  and  having 
been  extensively  reproduced,  are  widely  distributed 
throughout  Europe  and  America. 

The  original  of  the  Madonna  and  Child  here  shown  is 
probably  to  be  seen  in  one  of  the  churches  of  Florence. 


164 


RENAISSANCE  SCULPTURE. 


ANDEEA  DELLA  EOBBIA. 

(1437-1528). 

This  sculptor  continued  for  many  years  to  execute 
the  beautiful  terra-cotta  work  which  his  uncle  had 
made  so  famous,  and  developed  a  high  order  of  crea¬ 
tive  faculty.  He  was  assisted  by  his  four  sons,  all  of 
whom  inherited  in  greater  or  less  degree  the  talent  of 
their  father. 

The  Madonna,  Child  and  Angels  here  shown  is  a  copy 
in  marble  of  one  of  the  numerous  productions  of  An¬ 
drea  della  Eobbia,  the  original,  it  would  seem,  having 
been  destroyed  in  the  Cathedral  of  Messina  at  the  time 
of  the  great  earthquake,  December  28,  1908. 


ANTONIO  EOSSELLINO. 

(1427-1490). 

Bossellino,  who  came  of  a  family  of  sculptors,  was 
born  in  Florence  in  1427,  and  was  a  pupil  of  Donatello. 
He  has  left  many  works  marked  by  delicacy  of  treat¬ 
ment  and  sweetness  of  expression,  attributes  in  fact  of 
all  this  group  of  sculptors. 

The  Madonna  and  Child  here  shown  in  marble  is  in 
part  a  copy  of  a  sculptured  memorial  tablet  to  be  seen 
in  the  church  of  Santa  Croce,  in  Florence,  on  a  pillar 
just  opposite  the  tomb  of  Michael  Angelo. 


The  original  of  this  delicate  marble  reproduction  of  the  work  of  Andrea 
della  Robbia  (1437-1528)  is  said  to  have  been  in  the  Cathedral 
of  Messina,  and  to  have  been  destroyed  in  the 
Earthquake  of  December  28,  1908. 

Page  164. 


MADONNA  AND  CHILD. 
Benedetto  da  Maiano. 
Tage  165. 


RENAISSANCE  SCULPTURE. 


165 


MINO  DA  FIE  SOLE. 

(1432-1486). 

Mino  di  Giovanni,  called  “da  Fiesole,”  was  born  in 
the  neighborhood  of  Florence  in  the  year  1432.  He 
executed  many  altar  pieces  and  tombs  of  great  beauty, 
and  his  bust  of  Bishop  Salutati,  to  be  seen  in  the 
church  at  Fiesole,  surmounting  the  tomb  of  the  Bishop, 
is  one  of  the  most  striking  portrait  busts  in  existence. 
The  original  of  the  marble  copy  of  the  Madonna  and 
Child  here  shown  is  in  the  Bargello  at  Florence. 


BENEDETTO  DA  MAIANO. 

(1442-1497.) 

This  sculptor,  who  shared  with  his  brother  Giuliano 
the  fame  of  an  architect  as  well  as  sculptor,  was  the 
son  of  a  stonecutter  and  was  born  in  Florence  in  1442. 
He  executed  many  wTorks  of  great  beauty,  among  others 
the  celebrated  pulpit  in  the  church  of  Santa  Croce, 
Florence,  which  has  been  described  as  “the  most  beau¬ 
tiful  pulpit  in  Italy.”  Of  his  well  known  works  there 
is  also  the  shrine  of  San  Bartolo  in  the  Church  of  St. 
Agostino,  in  S.  Gimignano,  near  Siena,  and  the  Ma¬ 
donna  and  Child  here  shown  is  a  copy  of  one  of  the 
details  of  that  shrine. 


166 


RENAISSANCE  SCULPTURE. 


MADONNA  AND  CHILD. 

BY  MICHAEL  ANGELO. 

The  marble  original  of  this  group  is  in  the  Church  of 
Notre  Dame  at  Bruges,  Belgium.  Some  doubt  has 
arisen  as  to  whether  it  be  the  work  of  Michael  Angelo 
himself  or  one  of  his  pupils.  The  better  authorities 
believe  it  to  be  by  the  master  himself,  accounting  for 
some  technical  faults  on  the  ground  that  it  was  a  youth¬ 
ful  production,  while  other  boldly  proclaim  it,  in  essen¬ 
tials,  one  of  the  sculptor’s  masterpieces. 


MADONNA  AND  CHILD. 

BY  MICHAEL  ANGELO. 

The  original  is  in  the  Bargello  at  Florence,  and  is  one 
of  the  many  more  or  less  unfinished  works  of  the 
sculptor. 


LA  FEMME  INCONNUE. 

SCULPTOR  UNKNOWN. 

The  original  of  this  well-known  head  is  in  the  Mu¬ 
seum  of  the  Louvre,  and  belongs  to  the  second  half  of 
the  Fifteenth  Century,  Neapolitan  School. 


MADONNA  AND  CHILD. 
Michael  Angelo. 
Page  166. 


MAI  lO.N'NA  AM)  CIIIU)  .UK  IIAKL  AM  IK  IK  ). 
I ’age  1 06. 


LA  FEMME  INCONNTJE. 
J’age  ]66, 


RENAISSANCE  HISTORICAL  BUSTS. 


DANTE. 

IJage  167. 


RENAISSANCE  HISTORICAL  BUSTS. 


167 


DANTE  ALIGHIERI. 

(1265-1321.) 

Dante,  “that  singular  splendour  of  the  Italian  race,” 
as  Boccaccio  calls  him,  stands  out  as  one  of  the  great 
figures  of  history  in  the  intellectual  world.  In  the 
fourteenth  and  beginning  of  the  fifteenth  centuries 
Italy  stood  upon  the  threshold  of  that  wonderful 
awakening  of  the  mind  which  was  to  regenerate  man¬ 
kind,  and  bring  back  into  the  world  some  of  that  old 
time  spirit  of  free  inquiry  and  independence  of  thought 
that  was  to  bear  such  fruit  in  the  progressive  develop¬ 
ment  of  modern  civilization.  Of  this  period  Dante  was 
the  great  precursor. 

He  was  born  in  Florence  in  1265,  and  from  his  own 
writings  we  learn  of  his  aspirations  and  strivings  from 
his  childhood  to  the  end  of  his  career.  At  the  age  of 
nine  he  first  met  the  little  Beatrice,  a  year  younger 
than  himself,  and  from  this  time  on,  as  child  and 
woman,  her  image,  whether  present  or  only  as  a  mem¬ 
ory,  becomes  the  inspiration  of  his  intellectual  and 
spiritual  life. 

Though  poet,  scholar  and  philosopher,  he  was  an 
active  participant  in  all  the  turmoil  and  confusion  of 
his  time,  when  the  true  principles  of  liberty  were  ever 
sought  and  never  found  amidst  the  faction  and  blood¬ 
shed  of  that  disordered  period.  It  was  this  disap¬ 
pointed  dream  of  Italian  unity  and  liberty,  coincident 
with  respect  for  law  and  authority,  in  both  the  civil 


168 


RENAISSANCE  HISTORICAL  BUSTS. 


and  religions  world,  only  partially  realized  within  our 
own  time,  that  makes  of  Dante  such  a  pathetic  figure 
in  his  longings  for  the  unattainable,  when  Pope  and 
Emperor,  Guelph  and  Ghibelline,  struggled  for  the  mas¬ 
tery,  now  one  and  then  the  other  in  the  ascendant.  Dur¬ 
ing  his  maturer  years  the  poet  cast  in  his  lot  with  the 
Ghibelline  faction,  and  at  about  the  age  of  thirty-six 
found  himself  an  exiled  fugitive  from  his  native  city, 
destined  never  to  return.  For  twenty  years  he  was 
a  wanderer  seeking  such  shelter  as  he  might  obtain 
at  the  courts  of  the  petty  Italian  princes,  hut  ever 
anxiously  awaiting  a  change  of  fortune  that  would  en¬ 
able  him  to  return  to  his  beloved  Florence,  the  one 
great  hope  of  his  life.  It  was  during  this  weary  period, 
broken  in  fortune  but  not  in  spirit,  that  he  composed 
his  Comedia,  as  he  called  it.  In  the  Inferno,  Purgatorio, 
and  Paradiso  we  have  a  vivid  panorama  not  only  of  the 
age  in  which  he  lived,  but  of  by-gone  times  as  well,  his 
keen  insight  penetrating  the  characters  and  motives 
of  the  great  historical  figures  of  the  past  as  well  as 
of  the  men  and  women  he  had  known  on  earth, 
and  whose  tortures  in  hell  for  their  many  crimes, 
or  bliss  in  Heaven,  he  describes.  Throughout  the 
poem,  written  in  Italian,  till  then  but  the  rude  lan¬ 
guage  of  the  people,  there  runs  an  elevation  of  thought 
and  style  that  well  earned  for  it  the  title  of  divine, 
given  in  the  following  generation  by  common  consent, 
when  the  full  purport  of  what  the  poet  had  written 
began  to  be  understood.  Then  it  was  that,  the  matter 


RENAISSANCE  HISTORICAL  BUSTS. 


169 


being  of  universal  application  and  worthy  of  the  form, 
Dante  was  recognized,  with  ever-increasing  appreciation 
of  his  genius,  as  one  of  the  great  teachers  of  mankind, 
and  for  six  hundred  years  the  translator  and  annotator 
have  been  busy  with  his  work.  Fifty  years  after  his 
death  there  was  established  at  Florence  a  public  lecture¬ 
ship  for  the  elucidation  of  the  Divine  Comedy,  with 
Boccaccio  as  the  first  incumbent  of  what  might  be  called 
this  chair  of  philosophy,  history,  science,  theology,  and 
classical  literature  combined,  for  Dante  was  master  of 
all  the  learning  of  his  time,  and  throughout  his  poem 
there  runs  in  rich  imagery  his  philosophic  thought 
upon  all  these  subjects. 

In  person  he  was  spare  in  form  and  of  middle  height, 
somewhat  stooping,  of  a  dignified  and  retiring  manner, 
with  a  sad,  strong,  thoughtful  face.  Studious  of  habit  he 
was  usually  a  silent  man,  given  much  to  solitude  and 
communing  with  his  own  thoughts,  though  capable  on 
occasion  of  fiery  eloquence.  Described  by  one  of  his 
contemporaries  he  appears  as  “this  Dante  on  account  of 
his  learning  was  a  little  haughty,  and  shy,  and  dis¬ 
dainful  and  like  a  philosopher,  almost  ungracious,  he 
knew  not  how  to  deal  with  unlettered  folk.” 

Of  music  and  painting  he  was  very  fond,  and  was  on 
terms  of  intimate  friendship  with  Giotto,  who  has  left 
us  the  poet’s  portrait  still  to  be  seen  on  the  walls  of 
the  little  chapel  in  the  Bargello  at  Florence. 

Dante  died  in  1321  in  the  fifty-seventh  year  of  his  age, 
at  Ravenna,  where  he  now  lies  buried.  In  Florence  in 


170 


RENAISSANCE  HISTORICAL  BUSTS. 


recent  years,  a  great  monument  lias  been  erected  to  his 
memory  in  the  square  which  fronts  the  Church  of  Santa 
Croce. 


The  original  of  the  marble  bust  here  shown  is 
supposed  to  have  been  made  from  a  death  mask  and 
gives  the  quality  of  his  face,  as  described  by  Boccaccio, 
with  greater  apparent  fidelity  than  the  portrait  by 
Giotto,  which  was  taken  in  his  younger  years  before  the 
lines  of  his  face  were  so  deeply  drawn  by  thought  and 
mental  suffering. 


MICHAEL  ANGELO  BUONARROTI. 
1475-1563. 

The  name  of  Michael  Angelo  stands  pre-eminent  in  the 
world  of  art,  for  it  was  he  who,  more  than  any  other 
single  individual,  embodied  the  spirit  of  that  awaken¬ 
ing  of  the  human  mind  after  a  sleep  of  a  thousand 
years,  known  as  the  Renaissance. 

Sculptor,  painter,  architect  and  poet,  he  excelled  in 
everything  he  undertook,  and  has  left  for  the  admira¬ 
tion  of  successive  generations  the  most  enduring  monu¬ 
ments  of  his  genius.  In  painting  we  have  his  ceiling 
in  the  Sistine  Chapel  at  Rome,  adorned  with  frescoes 
representing  the  Creation  and  other  scenes  from  the 
Old  Testament,  conceived  and  executed  with  a  dignity 
and  power  unrivalled  in  the  history  of  art.  In 


MICHAEL  ANGELO. 
Cage  17<> 


RENAISSANCE  HISTORICAL  BUSTS. 


171 


sculpture  we  liave  his  innumerable  monuments  scat¬ 
tered  throughout  the  churches  and  museums  of  Europe, 
though  mostly  to  be  found  in  Italy,  especially  at 
Florence  and  Rome.  In  architecture  he  has  left  us 
the  dome  of  St.  Peters  at  Pome,  and  in  literature  his 
sonnets.  As  a  military  engineer  we  have  the  memory 
of  his  defence  of  Florence  at  the  time  he  undertook 
the  construction  of  the  fortifications  of  his  adopted 
city.  He  died  in  Pome  in  the  year  1563  at  almost 
ninety  years  of  age,  and  lies  buried  in  Florence. 

His  life,  though  crowned  with  so  great  achievement, 
had  been  full  of  struggle,  and  sorrow,  and  disappoint¬ 
ment.  His  lofty  genius,  combined  with  the  vehemence 
and  intensity  of  his  nature  (the  terribilita  of  his  Italian 
biographers),  had  tended  to  isolate  him  from  the  com¬ 
panionship  of  men.  From  his  youth  an  ardent  student 
and  hard  worker,  he  was  nearly  always  dissatisfied  with 
his  work,  and  left  many  things  unfinished. 

“In  disposition  he  was  proud  and  passionate,  but 
high  minded,  not  greedy  of  gold,  but  princely  in 
his  generosity.  His  mind  was  full  of  great  concep¬ 
tions.” 


The  original  bust,  made  by  one  of  his  pupils, 
of  which  this  is  a  copy,  surmounts  his  tomb  in 
the  church  of  Santa  Croce,  the  Westminster  Abbey  of 
Florence. 


172 


RENAISSANCE  HISTORICAL  BUSTS. 


MILTON. 

1608-1672. 

John  Milton  was  born  in  London  in  the  year  1608, 
during  the  early  part  of  the  reign  of  James  I  of  England. 
At  the  age  of  sixteen  he  entered  Christ’s  College,  Cam¬ 
bridge,  and  going  through  the  regular  collegiate  course  of 
study  took  the  usual  academic  degrees.  It  appears  that 
during  his  university  life,  though  his  literary  pre-emi¬ 
nence  was  admitted  by  all,  he  was  unpopular  among 
the  students,  owing  to  his  self-assertion  and  conceit.  He 
himself  admits  “ a  certain  niceness  of  nature,  an  honest 
haughtiness  and  self-esteem  of  what  I  was  or  what  I 
might  be.  ’  ’  At  the  age  of  twenty-four,  after  his  gradua¬ 
tion,  he  was  in  some  doubt  as  to  his  career,  meditating 
either  the  Church  or  the  Law  as  his  future  profession. 
With  the  consent  of  his  father,  a  London  scrivener,  he 
devoted  his  time  to  leisure  and  study,  and  lived  pleas¬ 
antly  in  the  country  near  Windsor,  about  seventeen 
miles  from  London,  where  he  wrote  many  of  his  minor 
poems,  including  L ’Allegro  and  II  Penseroso,  and  later 
Comus  and  Lycidas,  with  Latin  letters  and  Greek  trans¬ 
lations.  At  the  age  of  thirty  he  traveled  for  a  year  or 
more  on  the  Continent  and  especially  in  Italy.  The 
memory  of  that  period  always  remained  one  of  the  great 
pleasures  of  his  life.  Devotion  to  study  had  affected 
his  eyesight  and  in  1654,  at  the  age  of  forty-six,  he  be¬ 
came  totally  blind.  In  1667  was  published  the  great 
poem  by  which  he  is  best  known  “Paradise  Lost,”  on 
which  he  had  meditated  deeply  for  many  years. 


MILTON. 

Page  172. 


RENAISSANCE  HISTORICAL  BUSTS. 


173 


Milton,  though  one  of  the  greatest  of  English  poets, 
was  personally  a  stern,  unlovable  man  and  unhappy  in 
his  domestic  life.  Much  of  his  time  was  devoted  to 
fierce  political  controversy  during  the  exciting  times  in 
which  he  lived,  which  covered  the  downfall  and  execu¬ 
tion  of  Charles  I,  the  rise  of  Oliver  Cromwell,  and  the 
Restoration. 

In  sustained  stateliness  and  grandeur  of  style  he 
stands  unrivalled  among  the  poets  of  the  English-speak¬ 
ing  race. 


The  original  of  the  marble  bust  here  shown  is  in 
London. 


Southampton,  Long  Island,  N.  Y., 
August,  1912. 

The  following  pictures,  reproduced  for  this  volume 
by  the  photogravure  process,  have  been  contributed  to 
the  Museum  by  Mr.  James  C.  Parrish. 

The  two  copies,  after  Raphael  and  Leonardo  da  Vinci 
respectively,  were  painted  by  Mr.  Z.  Alexandre  of  Paris. 
The  original  of  the  Joanna  of  Aragon  now  hangs  in  the 
long  room  of  the  Gallery  of  The  Louvre.  The  “Mona 
Lisa,”  which  was  hung  in  the  Salon  Carre,  was  stolen 
from  The  Louvre  in  1911,  and  had  not  been  recovered  at 
the  time  this  Catalogue  was  issued. 


S.  L.  P. 


No  4 


1 


Wife  of  Burgomaster  Van  der  Horst. 

M.  J.  Mierevelt. 


(1567-1641) 
54  x  43 


2 


Portrait  of  a  Dutch  Lady. 

Jacob  Van  Oost,  Jr. 


(1639-1713). 
41  x  35 


Jeanne  d’Aragon. 

After  Raphael 
58  x  48 


4 

Mona  Lisa. 

After  Leonardo  da  Vinci. 
42  x  32 


INDEX. 


Till*:  LILY  POND  AND  ARBORETUM. 


INDEX. 


Acropolis  of  Athens, 
Act  of  Supremacy, 
Actium,  Battle  of 
Aelfgyva,  . 

Aeneas, 

Aeneid, 

Age  of  Pericles, 
Agincourt,  Battle  of, 


118 

79 

149 

Bayeux  Tapestry. 

129 
129 
.  117,147 
52,  56,  58,  68 


Agrippa,  Marcus,  Son-in-law  of  the  Emperor  Augustus, 
Alexander  The  Great,  .  . 

Alexander  II,  Pope, 

American  Presbyterian  Board  of  Foreign 
American  Presidential  Election  in  1876, 

America,  ..... 

Anne  of  Bohemia,  Queen  of  Richard  II, 

Anne  of  Cleves,  Queen  of  Henry  VIII, 

Ansano  di  Pietro  Mencio,  called  “Sano  di  Pietro 
Painter  of  Siena,  .... 


154 
112,135,141 
.  .  Bayeux  Tapestry. 

Missions,  .  .  122 

72 

.  Preface  et’  passim. 

57 

79 

early  Italian 

96 


178 


INDEX. 


Antinous,  Favorite  of  Roman  Emperor  Hadrian, 
Antium,  Town  of  Italy, 

Antony,  Mark,  Roman  Triumvir, 

Apollo,  ...... 

Apollo  Belvedere,  ..... 

Armenian  Church,  .... 

Armenian  Monks,  ..... 

Arthur,  British  King,  .... 

Asia  Minor,  ...... 

Atelier  de  Moulage,  Museum  of  The  Louvre, 


156 
135 
149 
113, 133 
.  132, 135 
122 

.  102,106 
67 
135 
Preface, 


Athena, 

Athena  Parthenos,  Statue  of, 
Athens, 

August,  Month  of, 

Augustan  Age, 

Augustus  Caesar,  Roman  Emperor, 


113, 134, 141 
119 

117, 118,  120,  122,  147, 148 
150 
150 
148 


Babington’s  Conspiracy, 

Baiae,  Roman  Watering  Place  near  Naples, 
Ball,  John  “The  Mad  Priest  of  Kent,” 
Bargello,  The,  National  Museum  of  Florence, 
Baroccio,  Federigo,  Italian  Painter, 


Barlow,  S.  L.  M., 

Barons’  War,  Time  of  Henry  III, 
Baths  of  Titus,  Rome, 

Bay  of  Naples, 

Bayeux,  Cathedral  of, 

Bayeux  Tapestry, 

Beatrice, 

Beaufort,  "The  Lady  Margaret,” 


.  88,90 

145, 146 
55 

165,  et  passim. 

96 

97, 105 
48 
129 
145 

Bayeux  Tapestry. 
.  Preface,  3-42 
167 

Countess  of  Richmond  and 


Derby,  Mother  of  Henry  VII,  ....  66 

Beaufort,  John,  Earl  of  Somerset,  ....  66 

Beaufort,  John,  Duke  of  Somerset,  ....  66 

Beaurain,  Castle  of,  ....  Bayeux  Tapestry. 

Bellini,  Giovanni,  Venetian  Painter,  ...  97,  98, 107 


INDEX. 


179 


Benedetto  da  Maiano,  Florentine  Sculptor, 
Benedict,  Anti-Pope,  .... 

Beni-Hasan,  Rock  Tomb  on  the  Nile, 

Bissolo,  Francesco,  Venetian  Painter, 

“Black  Death,”  ..... 

Blackheath,  ..... 

Blanche,  Duchess  of  Lancaster, 

Boccaccio,  Italian  Author, 

Boccaccio  Boccacino,  Italian  Painter, 

Bohemia,  ..... 

Boleyn,  Anne,  Queen  of  Henry  VIII, 

Bolingbroke,  Henry  of  (Henry  IV), 

Bosham,  Manor  of,  .... 

Boston,  ...... 

Bosworth,  Battle  of,  .... 

Bothwell,  Earl  of,  .... 

Botticelli,  Florentine  Painter, 

Boy  Extracting  a  Thorn,  Greek  Statuary, 

British  Government,  .... 

British  Museum,  .... 

Brittany,  ...... 

Bronzino,  Angelo,  Florentine  Painter, 

Brutus,  ...... 

Bryant,  William  Cullen,  .... 

Buonconsiglio,  Giovanni,  called  “II  Marescalco,” 
Vicenza,  ..... 

Byzantine  Greek,  ..... 

Byzantine  Style  . 


165 

Bayeux  Tapestry. 
Bayeux  Tapestry. 

97 
52 
58 
64 

169 

98 

63 

.  78, 89 

64 

Bayeux  Tapestry. 
.  .  Preface. 

69,  72,  76 
87 

103 
115, 137 

.  Preface,  3 
120,145, 146 
Bayeux  Tapestry. 

101 

149 

146 

Painter  of 

105 

104 
98,  100 


Calais,  Town  of  Normandy, 
Caligula,  Roman  Emperor, 
Cancale,  Bay  of,  French  Coast, 
Canova,  Sculptor 
Canterbury  Cathedral, 
Canterbury  Tales, 

Capitoline  Hill,  Rome, 


.  53, 58 

Bayeux  Tapestry. 

138 

Preface,  45,  57,  64, ,  67 
55,  63 
137 


180 


INDEX, 


Capri,  Island,  Bay  of  Naples,  .....  152, 153 

Capua,  Town  of  Italy,  ......  137 

Cardinal’s  College,  now  Christ’s  College,  Oxford,  .  .  83 

Carlyle,  Thomas,  Scotch  Author,  ....  Preface. 

Carnarvon,  Castle  of,  in  Wales,  .....  49 

Cassius,  Roman  Conspirator,  .....  149 

Cassius,  Villa  of,  ......  147 

Catharine  of  Aragon,  Queen  of  Henry  VIII,  ...  78,  83 

Catharine  of  Valois,  Queen  of  Henry  V,  .  .  57,  68,  70 

Chapman,  Translator  of  Homer,  Time  of  Queen  Elizabeth,  146 

Charing  Cross,  London,  .....  50 

Charles'  I,  King  of  England,  .  .  .  .  .80, 173 

Charles  IV,  Emperor  of  Germany,  ....  57 

Charles  V,  Emperor  of  Germany,  and  King  of  Spain,  .  .  80 

Charles  VI,  King  of  France,  ......  57 

Chaucer  Geoffrey,  English  Poet,  .  .  .  .  50,  54,  55,  63 


Chicago,  .... 

China,  .... 

Chios,  Greek  Island, 

Christ,  .... 

Christian,  Christians,  Christianity, 
Christ’s  College,  Cambridge,  England, 
Christ’s  College,  Oxford,  England, 
Church  of  England, 

Church  of  Rome, 

Cicero,  Roman  Orator  and  Statesman, 
Civita  Lavinia,  Town  of  Italy, 

Clarence,  Duke  of, 

Clarendon,  Lord  Chancellor, 

Claudius,  Roman  Emperor, 

Cleopatra,  Queen  of  Egypt, 

Columbus,  Bartholomew, 

Columbus,  Christopher, 

Como,  Italian  Lake, 

Comus,  Poem  of  Milton, 


Preface. 

52 

145 

62, 114, 148, 155 
113, 115, 121, 122, 123, 154,  155 
.  69, 172 

83 

68,  78,  79 
78,  79 
116,  146 
124 
61 

Preface. 

155 

150 

73 

73 

138 

172 


INDEX. 


181 


Conan,  Count  of  Brittany, 
Conesnon,  River  of  Prance, 
Constantinople, 

Convento  delle  Contesse, 

Coptic  Church, 

Copts, 

Coventry,  Town  of  England, 
Cowper,  William,  English  Poet, 
Crecy,  Battle  of, 

Cromwell,  Oliver, 

Cupid, 

Czar  of  Russia, 


Bayeux  Tapestry. 

Bayeux  Tapestry. 

149 
95 
122 
122 
61 
146 
52,  56 
173 
137 
149 


Dante  Alighieri,  Italian  Poet,  .....  167 

Darius,  King  of  Persia,  ......  117 

Darnley,  Earl,  Husband  of  Mary,  Queen  of  Scots  and  Father  of 

James  I  of  England,  ......  87 

David,  King,  ........  145 

Derby,  Countess  of,  "The  Lady  Margaret,”  also  Countess  of 

Richmond,  mother  of  Henry  VII,  ....  66 

Dido,  Queen  of  Carthage,  ......  129 

Dinan,  Town  of  Brittany,  ....  Bayeux  Tapestry. 

Divine  Comedy,  Poem  of  Dante,  .....  169 

Dol,  Town  of  Brittany,  .....  Bayeux  Tapestry. 

Donatello,  Florentine  Sculptor,  ,  Preface,  163 


Ealdgyth,  wife  of  Harold,  King  of  England, 
Eastern  Roman  Empire, 

Eastlake,  Sir  Charles, 

“Echo,  The,”  ..... 


Bayeux  Tapestry. 

149 

98 

142 


Editha,  Sister  of  Harold  and  Queen  of  Edward  The  Confessor, 

Bayeux  Tapestry. 


Edmund  Crouchback,  Earl  of  Lancaster,  ....  62 

Edward  The  Confessor,  King  of  England,  .  Bayeaux  Tapestry. 


182 


INDEX. 


Edward  The  Confessor’s  Chapel,  Westminster  Abbey, 

Throughout  the  Royal  Effigies. 
Edward  I,  King  of  England,  ....  48 

Edward  II,  King  of  England,  .....  51 

Edward  III,  King  of  England,  ....  51 

Edward  IV,  King  of  England,  .  .  .  .  71, 74 

Edward  V,  King  of  England,  ....  71 

Edward  VI,  King  of  England,  .....  79 

Edward  "The  Black  Prince,”  ....  55 

Egypt .  96, 102,  111,  122 

Eleanor  of  Castile,  Queen  of  Edward  I,  .  .  .  .  48 

Electoral  Commission  of  1876,  .....  72 

Elgin,  Lord,  .......  120 

Elizabeth,  Queen  of  England,  .....  89 

Elizabeth  of  York,  Queen  of  Henry  VII,  ...  75 

England,  .  .  .  Preface,  Bayeux  Tapestry,  et  passim 

English  Church,  .  .  .  .  .  .  .  78, 79 

Europe,  .......  Preface. 

Eustace,  Count  of  Boulogne,  ....  Bayeux  Tapestry. 


Fairmount  Park,  .... 

Faun  of  Praxitiles,  .... 
Ferdinand  III,  King  of  Castile, 

Ferdinand  of  Aragon,  .... 
Florence,  .  .  .  Preface,  Catalogue  of 

Foligno,  Town  of  Central  Italy, 

Fotheringay  Castle,  .... 
Fowke’s  Book  on  Bayeux  Tapestry,  . 

France,  .....  Bayeux 
Francis  I,  King  of  France,  .... 
Francis  II,  King  of  France, 

Freeman,  History  of  Norman  Conquest, 

French  Academy  of  Inscriptions, 

Frieze  of  The  Parthenon,  .... 
Froissart,  French  Chronicler, 


Preface,  115, 124 
48 
78 

Pictures,  et  passim. 

95 

89 

3 

Tapestry  et  passim. 

80 

86 

Bayeux  Tapestry. 
Bayeux  Tapestry. 
.  Preface,  117 
55 


INDEX. 


183 


Garter,  Order  of  the, 

George  III,  King  of  England, 

Ghibelline,  Italian  Party  in  Middle  Ages, 
Giorgione,  Venetian  Painter, 

Giotto,  Florentine  Painter, 

Girolamo  dai  Libri,  Veronese  Painter, 
Gladstone,  William  E.,  . 

Gloucester,  Town  of,  England, 

Gloucester  Cathedral, 

Godwine,  Earl,  Father  of  King  Harold, 
Great  Charter  (Magna  Charta),  . 

Greece,  ..... 
Guelph,  Italian  Party  in  Middle  Ages,  . 
Guy,  Count  of  Ponthieu, 

Gyrth,  Brother  of  King  Harold, 


55 

47 

168 

98 

169, 170 
97 
146 
.  47,  51 

51 

Bayeux  Tapestry. 

47 

Preface,  112, 115, 135, 148 
168 

.  Bayeux  Tapestry. 
.  Bayeux  Tapestry. 


Hadrian,  Roman  Emperor,  ......  153 

Hague,  The,  Gallery  of,  .  .  .  .  .  .  106 

Hall  of  Apollo,  Vatican  Mhseum,  .....  135 

Hall  of  Augustus,  Museum  of  The  Louvre,  .  .  .  154 

Hampton  Court,  Palace  near  London,  built  by  Cardinal  Wolsey,  83 

Harold,  King  of  England,  ....  Bayeux  Tapestry. 

Hastings,  Battle  of,  .  .  .  .  Bayeux  Tapestry. 

Hawthorne’s  Marble  Faun,  .....  124 

Hayes-Tilden  Presidential  Controversy,  ....  72 

Henry  III,  King  of  England,  .....  47 

Henry  IV,  King  of  England,  .....  64 

Henry  V,  King  of  England,  ...  52,  57,  64,  65,  68,  71 

Henry  VI,  King  of  England,  .....  71 

Henry  VII,  King  of  England,  .....  70 

Henry  VIII,  King  of  England,  .....  77 

Hereford,  Duke  of,  .....  60 

Hermes  (Mercury),  .......  113,138 

High  Priest,  .......  149 

Holyrood  Palace,  Edinburgh,  .....  87 


184 


INDEX, 


Homer, .  145 

Horace,  Roman  Poet,  .......  150 

Howard,  Catharine,  Queen  of  Henry  VIII,  ...  79 

Hume,  David,  Historian,  ......  85 

Huss,  John,  Bohemian  Reformer,  ....  63 

Hypatia,  Kingsley’s  Novel,  ......  122 

Iktinos,  Architect  of  The  Parthenon,  ....  118 

Iliad,  Homer's  Poem,  ......  146 

Illyria,  Roman  Province,  .....  149 

11  Penseroso,  Milton’s  Poem,  .....  172 

Inferno,  Dante’s  Poem,  ......  168 

Innocent  XII,  Pope,  ......  103 

Innocenzo  da  Imola,  Italian  Painter,  ....  99 

Isabel,  Queen  of  Richard  II,  .  .  .  .  .  .  57 

Isabella  of  Angouleme,  Queen  of  King  John  of  England,  .  47 

Isabella  of  Castile,  Mother  of  Catharine  of  Aragon,  .  .  73,  78 

Italian  Renaissance,  .....  Preface,  136 

Italy,  ......  Preface  et  passim. 

James  I,  King  of  England,  .....  172 

James  II,  King  of  England,  .....  63 

James  IV,  King  of  Scotland,  .....  85 

James  V,  King  of  Scotland,  ......  85 

James  VI,  King  of  Scotland  and  James  I  of  England,  .  172 

Jerusalem,  ........  155, 156 

Jews,  ........  155, 157 

John,  King  of  England,  ......  47 

John,  of  Gaunt,  Duke  of  Lancaster,  Father  of  Henry  IV, 

57,  61,  64,  66,  67,  70 

Julia,  .......  154 

Julius  Caesar,  ........  146, 148 

Julius  II,  Pope,  .......  135 


Kallicrates,  Architect  of  the  Parthenon, 

Kent,  “Fair  M(aid  of,”  Mother  of  Edward  “The  Black  Prince,’ 


118 

56 


INDEX. 


185 


“Kate”  in  Shakespeare’s  Play  of  Henry  V,  Katherine  of  Valois, 

Queen  of  Henry  V,  .....  70 

Laffetay,  1’Abbe,  .....  Bayeux  Tapestry. 

L’Allegro,  Milton’s  Poem,  .....  172 

Lancaster,  Duke  of,  .  .  .  .  .  .  .  60, 65 

Lancaster,  House  of,  ......  73, 76 

Langley,  Burial  Place  of  Richard  II,  .  .  .  64 

Laocoon,  Group,  ......  Preface,  115, 129 

Leicester  Abbey,  .......  83 

Leofwine,  Brother  of  King  Harold,  .  .  .  Bayeux  Tapestry. 

Leonardo  Loredano,  Doge  of  Venice,  ....  107 

Lepidus,  Roman  Triumvir,  .....  149 

Library,  .......  Preface. 

Linlithgow  Castle,  ......  85 

Lionel,  Duke  of  Clarence,  ......  61 

Livia,  Roman  Empress,  ......  151 

Livy,  Roman  Historian,  ......  150 

Lochleven,  Castle  in  Scotland,  .....  88 

Lombard  School  of  Painting,  .....  99 

London,  .  .  .  Preface,  Catalogue  of  Pictures  et  passim. 

Long  Island,  ........  23 

Longland,  William,  called  “Long  W’ill”  Poet  of  the  People, 

time  of  Richard  II,  .  .  .  .  .  54,  63 

Long  Parliament,  .......  75 

Lorenzo  di  Credi,  Florentine  Painter,  ....  98 

Louvre,  Museum  of,  .  .  .  .  Preface  et  passim. 

Liibke’s  History  of  Art,  ......  134 

Lycidas,  Milton’s  Poem,  ......  172 


Macasnas,  Roman  Minister  of  State  under  Caesar  Augustus, 
Macro,  Roman  Minister  of  State  under  Tiberius  Caesar,  . 
Magdalen  College,  Oxford,  England, 

Maia,  Mother  of  Hermes  (Mercury), 

Marathon,  Battle  of,  .... 

March,  Earl  of,  ..... 


150 
153 
81 
138 
117, 147 
61,  69,71 


186 


INDEX. 


Margaret,  Queen  of  James  IV  of  Scotland, 
Marino  Faliero,  Doge  of  Venice, 

Marius,  Roman  General, 

Mary  of  Lorraine,  Mother  of  Mary  Stuart, 

Mary  Stuart,  Queen  of  Scots, 

Mary  Tudor,  Queen  of  England, 

Matilda,  Queen  of  William  the  Conqueror, 
Matilda,  The  Empress  Maud,  Granddaughter  of 


85 
107 
146 
85 
85 
90,  96 

Bayeux  Tapestry 
the  Conqueror, 

Bayeux  Tapestry 


Megara,  Town  of  Greece,  .....  124 

Metropolitan  Museum  of  Art,  .  .  .  Preface,  120,  122 

Michael  Angelo  Buonarroti,  .  Preface,  114, 147,  162, 163, 170 

Milton,  ........  172 

Mino  da  Fiesole,  Florentine  Sculptor,  .  .  .  165 

Mohammedan,  .......  121, 123 

Montfort,  Simon  de,  .....  48 

“Mora,”  Ship  on  which  The  Conqueror  Sailed  for  England, 

Bayeux  Tapestry 


More,  Sir  Thomas,  ......  85 

Murano,  Island  in  the  Lagoons  of  Venice,  .  .  .  100 


Napoleon,  .... 

Narcissus,  or  “The  Echo,” 

National  Gallery  of  London, 

National  Portrait  Gallery  of  London, 
Neptune,  .... 

Nero,  Roman  Emperor, 

New  England, 

New  York, 

Nile,  River  of  Egypt, 

Norfolk,  Duke  of,  ... 

Norman  Conquest, 

Normandy,  .... 

Notre  Dame,  Church  of,  Bruges,  Belgium, 


98 

142 

Preface,  Catalogue  of  Pictures 
Preface,  45,  64 
130 

146, 154, 155 
123 

Preface  and  Catalogue  of  Pictures 
123, 133 
60 

Bayeux  Tapestry 
.  Bayeux  Tapestry 


166 


INDEX, 


187 


Octavius,  afterward  Caesar  Augustus,  Roman  Emperor,  .  148 

Odo,  Bishop  of  Bayeux,  Half-brother  of  William  the  Conqueror, 


Bayeux  Tapestry. 

Odyssey,  Homer’s  Poem,  ......  146 

Olympia,  Town  of  the  Peloponnesus,  Greece,  .  .  134 

Orestano,  Town  of  Sardinia,  .....  105 

Otricoli,  Town  of  Italy,  .....  134 

Ovid,  Roman  Poet,  ......  150 

Oxford,  University  Town  of  England,  ...  69 


Padua,  Town  of  Italy,  .....  105 

Palazzo  dei  Conservatori,  Rome,  .....  137 

Palazzo  Giustiniani  Vescovio,  Venice,  .  .  .99, 104 

Palazzo  Pesaro,  Venice,  .....  100, 103 

Palma  Vecchio,  Venetian  Painter,  ...  96 

Pantheon,  Roman  Temple,  now  the  Church  of  Santa  Maria 

Rotonda,  Rome,  ......  154 

Paradise  Lost,  Milton’s  Poem,  ....  172 

Paradiso,  Dante’s  Poem,  ......  168 

Paris,  .  .  .  Preface,  Catalogue  of  Pictures  et  passim. 

Parmigianino,  Italian  Painter,  .....  102 

Parr,  Catharine,  Queen  of  Henry  VIII,  ...  79 

Parthenon,  Temple  at  Athens,  ....  117, 134 

Parthenon  Frieze,  .....  Preface,  115 

Peasants’  Revolt,  Time  of  Richard  II,  .  .  .  53 

Peloponnesus,  ......  134 

Pennsylvania,  .......  73 

Pennsylvania  Museum,  .....  3 

Pericles,  Athenian  Statesman  and  Orator,  .  .  117, 118, 148 

Perrers,  Alice,  Favorite  of  Edward  III,  .  .  .  54 

Persians,  .......  112, 117, 147 

Petrarch,  Italian  Poet,  .....  101 

Pevensey,  English  Town  where  the  Conqueror  landed.  Bayeux  Tapestry. 
Pharaohs,  .......  123 

Phidias,  Greek  Sculptor. 

Preface,  111,  112, 114, 115, 117, 118, 119, 134, 141, 147 


188 


INDEX. 


Philadelphia, 

Preface  and  Note  to  Bayeux  TapestTy. 

Philip  II,  King  of  Spain, 

. 

91, 102 

Philippa  of  Hainault,  Queen  of  Edward  III, 

.  51, 55 

Philippi,  Battle  of, 

149 

Pictures,  Catalogue  of, 

.  95-108 

Piers  the  Ploughman,  Poem  of 

the  People,  by 

“Long  Will,” 

in  time  of  Richard  II, 

. 

54 

Pignatelli,  Family  of  Naples  to  which  Pope 

Innocent  XII 

belonged, 

103 

Plantagenet,  House  of,  Preface,  and  throughout  the  Royal  Effigies. 

Platsea,  Battle  of, 

. 

117 

Pliny,  Roman  Author, 

. 

136, 152 

Plutarch,  Greek  Author, 

. 

148 

Poitiers,  Battle  of, 

. 

52,  56 

Pompei,  Buried  City  of  Italy  near  Naples, 

142 

Pompey,  Roman  General, 

146 

Pontefract,  Castle  of  England, 

. 

64 

Pontius  Pilate, 

154, 155 

Pope,  Alexander,  English  Poet, 

. 

146 

Porto  d’Anzio,  Town  of  Italy, 

. 

135 

Praxitiles,  Greek  Sculptor, 

. 

.  Preface,  112, 115, 141 

Priam,  King  of  Troy, 

. 

129 

Prince  of  Wales, 

.  49, 50 

Protestantism, 

. 

123 

Psyche  of  Capua, 

. 

.  115,137 

Public  Schools, 

. 

.  .  Preface. 

Purgatorio,  Dante’s  Poem, 

• 

168 

Raleigh,  Sir  Walter, 

#  , 

91 

Ravenna,  Town  in  Italy, 

169 

Ravenspur,  Town  in  England, 

61 

Rembrandt,  Flemish  Painter, 

106, 108 

Renaissance, 

. 

Preface  et  passim. 

Rennes,  Capital  of  Brittany, 

Bayeux  Tapestry. 

Restoration  of  Charles  II  of  England, 

173 

INDEX. 


189 


Richard  II,  King  of  England,  .....  57 

Richard  III,  King  of  England,  Last  of  the  Plantagenets,  .  71,  76 

Richmond,  Countess  of,  “The  Lady  Margaret,”  Mother  of 

Henry  VII,  .......  66 

Rizzio,  David,  Secretary  to  Mary  Stuart,  '.  .  .  .  87 

Robbia,  Luca  della,  Florentine  Sculptor,  .  .  .  163 

Robbia,  Andrea  della,  Florentine  Sculptor,  .  .  .  164 

Robert,  Count  of  Mortain,  ....  Bayeux  Tapestry. 

Rome,  .......  112, 131, 137, 170, 171 

Roman  Republic  and  Empire,  ....  115, 137, 148,  149 

Rossellino,  Antonio,  Florentine  Sculptor,  .  .  .  164 

Royal  Academy  of  Venice,  .....  101 

Rouen,  Town  of  Normandy,  .  .  .  Bayeux  Tapestry. 

Royal  Effigies,  .......  45 

Rufus.  William,  Son  of  the  Conqueror,  King  of  England, 

Bayeux  Tapestry. 

Runnymede,  Place  where  King  John  Signed  The  Magna  Charta,  47 

Russia,  ........  149 

Saladin,  Saracen  Chieftian,  .....  49 

Salamis,  Battle  of  .....  117, 147 

Salutati,  Bishop  of  Fiesole,  .....  165 

San  Agostino,  Church  at  San  Gimignano,  .  .  165 

San  Gimignano,  Town  near  Siena,  Italy,  .  .  .  165 

San  Lazaro,  Island  of,  in  Lagoons  of  Venice,  Location  of 

Armenian  Monastery,  .....  102 

“Sano  di  Pietro,”  Italian  Painter,  ....  96 

Santa  Croce,  Church  of,  Florence,  .  .  .  164, 165, 170, 171 

Santa  Zaccheria,  Church  of,  Venice,  ....  99 

Sardinia,  .......  105 

Schiavone  Collection,  ......  99 

Science  and  Art  Department,  British  Government,  .  .  Preface. 

Scopas,  Greek  Sculptor,  ......  112, 141 

Sculpture,  Greek,  ......  Ill 

Sculpture,  Renaissance,  ......  161 

Sejanus,  Roman  Minister  of  State,  ....  153 


190 


INDEX. 


Semetecolo,  Nicolo,  Venetian  Painter 

106 

Senlac,  Hill  of,  where  battle  of  Hastings  was  fought, 

Bayeux  Tapestry. 

Seymour,  Jane,  Queen  of  Henry  VIII,  Mother  of  Edward  VI, 

78 

Shakespeare,  William,  .... 

. 

66,91, 150 

Sicily,  ...... 

116 

Siena,  Italian  Town,  ..... 

. 

96 

Silesia,  ...... 

98 

Simnel,  Lambert,  Pretender  to  the  Throne  of  Henry  VII 

of 

England,  ...... 

74 

Sistine  Chapel,  St.  Peter’s,  Rome, 

. 

170 

Sistine  Madonna,  now  at  Dresden  Gallery, 

114 

Smithfield,  Quarter  of  London, 

. 

58 

Smyrna,  Town  of  Asia  Minor,  .... 

145 

Socrates,  Greek  Philosopher, 

. 

147 

Solomon,  King,  ..... 

. 

145 

Southampton,  New  York,  .  Preface  and  Pages  3, 

114,  116,  120,  162 

South  Kensington  Museum,  London. 

Preface, 3 

Spanish  Armada.  ..... 

91 

St.  Catharine,  Mystic  Marriage  of. 

97 

St.  George,  ...... 

. 

163 

St.  John,  ...... 

162, 163 

St.  John’s  College,  Cambridge,  England, 

93 

St.  Luke,  ...... 

148 

St.  Mark,  The  Evangelist, 

122 

St.  Michel,  Mount,  Brittany, 

Bayeux  Tapestry. 

St.  Paul  the  Apostle,  .... 

102, 122,  155 

St.  Peter’s,  Church  of,  Rome 

171 

St.  Peter  The  Apostle,  Church  of.  Westminster  Abbey, 

Bayeux  Tapestry. 

St.  Valery-sur-Somme,  Town  of  Normandy,  where  William  The 

Conqueror  set  Sail,  ....  Bayeux  Tapestry. 


Stanley,  Lord,  .... 
Star  Chamber,  Court  of, 

Stigand,  Archbishop  of  Canterbury, 

Straw,  Jack,  Leader  in  Peasants’  Revolt, 


69 

74 

.  Bayeux  Tapestry. 

58 


INDEX.  191 

Styx,  River,  Greek  Mythology,  ....  139 

Suetonius,  Roman  Historian,  .....  153 

Swynford,  Catharine,  Wife  of  John  of  Gaunt,  .  .  66 

Symond’s  “Renaissance  in  Italy,”  ....  131 

Tacitus,  Roman  Historian,  .....  154 

Temple  of  Jerusalem,  .....  156 

Tenedos,  Island  near  Troy,  .....  130,  131 

Thorwaldsen,  Sculptor,  .....  138 

Tiber,  River  of  Italy,  ......  132 

Tiberius  Caesar,  Roman  Emperor,  ....  151 

Titian,  Venetian  Painter,  .....  102 

Titus,  Roman  General  and  Emperor,  .  .  .  156 

Tivoli,  Town  near  Rome,  ......  147 

Torel,  William,  English  Sculptor,  ....  51 

Torregiano,  Pietro,  Florentine  Sculptor,  .  .  .75, 77 

Tower  of  London,  ......  76 

Trafalgar  Square,  London,  .....  50 

Tribune,  The,  Uffizi  Gallery,  Florence,  .  .  .  136 

Triumph  of  Alexander,  ......  138 

Trojan  War,  .......  129 

Troy,  Town  of  Asia  Minor,  .....  129 

Tudor,  Edmund,  Earl  of  Richmond,  Father  of  Henry  VII,  .  68 

Tudor,  Owen,  Grandfather  of  Henry  VII,  married  Katherine 

of  Valois,  Widow  of  Henry  V,  68,70 

Turks,  ........  121 

Turkish  Dominions,  ......  149 

Turold,  a  Dwarf,  .....  Bayeux  Tapestry. 

Tyler,  Wat,  Leader  in  Peasants’  Revolt,  Time  of  Richard  II,  .  58 

Uffizi  Gallery,  Florence,  .....  98, 163 


Vatican  Palace  and  Museum,  Rome,  .  .  .  131,  134, 136 

Venice,  .  .  .  Preface,  Catalogue  of  Pictures  et  passim. 

Venus,  ........  113, 133 


192 


INDEX. 


Verona,  Town  of  Italy, 

Verres,  Roman  Proconsul  of  Sicily, 
Vesuvius,  Volcano  near  Naples, 
Vicenza,  Town  of  Italy, 

Victoria,  Queen, 

Virgil,  Roman  Poet, 

Vital,  a  Norman  Scout, 

Vivarini,  Venetian  Painters, 


97 
116 
142 
105 
47,  75 
129, 132, 150 
Bayeux  Tapestry. 

.  100, 102 


Wadard,  ......  Bayeux  Tapestry. 

Wales,  ........  49 

Wallace,  William,  Hero  of  Scotland,  ....  49 

Walpole,  Horace,  Fourth  Earl  of  Orford,  .  .  .  106 

Walworth,  Mayor  of  London,  Time  of  Richard  II,  .  .  59 

Warbeck,  Perkin,  Pretender  to  the  Throne  of  Henry  VII,  .  74 

Wars  of  the  Roses,  .  .  .  .  .  72, 73, 76 

Washington  (D.  C.)  .  .  .  .  .  .Preface. 

Westminster  Palace  and  Abbey, 

Preface,  Bayeux  Tapestry  and  Throughout  the  Royal  Effigies. 
Whitehall,  Palace  of,  ......  63 

William  the  Conqueror,  Duke  of  Normandy,  and  King  of 

England,  ......  Bayeux  Tapestry. 

William  III,  King  of  England,  .....  63 

Winckelman,  German  Historian  of  Classic  Art,  .  .  156 

Winchester,  Town  of  England,  .....  47 

Windsor  Castle,  ......  55 

Windsor,  Town  of  England,  .....  51 

Winged  Victory  of  Samothrace,  ....  Preface,  115,  136 

Witan,  Popular  Assembly  of  England  before  the  Norman 

Conquest,  ......  Bayeux  Tapestry. 

Wolsey,  Cardinal,  .......  81 

Woodville,  Elizabeth,  Queen  of  Edward  IV,  .  .  75 

Wrestlers,  The,  Group  of  Statuary,  .  .  .  Preface,  115, 136 

Wycliffe,  John,  English  Reformer,  .  .  .  .50 ,54, 63 


INDEX. 


193 


Ximenes,  Spanish  Cardinal  and  Statesman  in  time  of  Emperor 

Charles  V,  .......  102 

Xerxes,  Persian  King,  ......  117 

York,  House  of,  ....  70,71,72,73,74,76 

Yorkshire,  English  County,  .....  61 

Zeus  (Jupiter),  .....  113,114,115,134,141 


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